Review: ‘Pleasure’ (2021), starring Sofia Kappel

May 27, 2022

by Carla Hay

Sofia Kappel and Xander Corvus in “Pleasure” (Photo courtesy of Neon)

“Pleasure” (2021)

Directed by Ninja Thyberg

Some language in Swedish with subtitles

Culture Representation: Taking place in 2018 in the Los Angeles area, the dramatic film “Pleasure” features a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: A Swedish immigrant, who is 19 years old, moves to Los Angeles to become a porn star, and she finds out how far she’s willing to go to fulfill that goal.

Culture Audience: “Pleasure” will appeal primarily to viewers who are interested in very adult-oriented and voyeuristic-styled stories about people obsessed with pursuing fame and fortune.

Sofia Kappel and Zelda Morrison (also known as Revika Reustle) in “Pleasure” (Photo courtesy of Neon)

“Pleasure” takes a raw and realistic look at what women who want to be porn stars have to do to “make it” in adult entertainment. The movie’s ironic title comes from showing that the business of pleasure comes at a cost of emotional pain to the performers. Needless to say, “Pleasure” is not a movie for people who are easily offended by explicit sexual content or who are too young for this subject matter. Writer/director Ninja Thyberg makes a bold and uncompromising feature-film debut with “Pleasure,” which doesn’t sugarcoat the damage (sometimes self-inflicted) caused by being exploited in the porn industry. “Pleasure” made the rounds at some film festivals in 2021, including the Sundance Film Festival (where the movie had its world premiere), the Cannes Film Festival and AFI Fest.

Thyberg (who co-wrote the “Pleasure” screenplay with Peter Modestij) is Swedish, and so is the protagonist of “Pleasure”: a 19-year-old woman whose porn name is Bella Cherry (played by Sofia Kappel), but her real name is Linnéa. Only a few people in the story know Bella’s real name. She wants everyone in her porn life to call her Bella, because she is fixated on reinventing herself as a porn star. “Pleasure,” which takes place over the course of less than six months, is about Bella’s attempts to accomplish that goal.

Viewers will find out very little about Bella’s life before she moved to Los Angeles. The fact that Thyberg and Bella are both Swedish is an interesting creative choice, because it makes Bella’s story not only a story about an aspiring porn actress but also an immigrant story. In either case, Bella is an outsider who strives to be accepted into a culture where people have been in the culture a lot longer than she has. Kappel, who is also Swedish, makes a memorable feature-film debut in her role as Bella. Kappel’s performance is what keeps “Pleasure” interesting because of how authentically she portrays all the emotions that Bella goes through in the movie.

The movie opens with Bella being questioned at an airport customs area in the United States, where she is asked if she’s visiting for business or pleasure. Based on the title of this movie, it’s easy to predict Bella’s answer. Viewers later find out that Bella has lied to her mother about why she’s going to Los Angeles. She’s told her mother that her trip is because she got an internship at a sponsoring company whose industry is not mentioned in the movie. If Bella has any other family members, then they’re not mentioned in the movie either.

Bella’s mother has no idea that Bella actually financed the trip herself with one purpose in mind: to become a porn star and to get a work visa so that she can stay in America. Bella is living in a non-descript, somewhat shabby place that’s called a house for models, but the four or five female models who live there are really actresses in adult entertainment. Most are in their 20s, but one woman is over the age of 30.

One of these housemates is Joy (played by Zelda Morrison, also known Revika Reustle), who is in her 20s. Joy becomes Bella’s closest friend in Los Angeles. At one point, Joy and Bella tell each other their real first names and a little bit more of their backgrounds. Joy’s real name is Katie, and she’s originally from Florida.

Joy also cheerfully describes herself this way: “I do everything. I’m a whore.” Very little is revealed about Joy’s background, except she mentions that most people in her life have disappointed her or betrayed her. Joy is looking for a true friend in Bella, who likes Joy too, but Bella is more guarded about how close she wants to be to anyone else in the house.

Another woman in the house is a longtime porn actress named Ashley (played by Dana DeArmond), who is in her late 30s or early 40s. Ashley is very aware that she’s in an age group where women become less employable in porn, so she has to start thinking about other ways to make money. Another housemate is named Kimberly (played by Kendra Spade), who doesn’t say much and has a small role in the movie. On the night of Ashley’s birthday, Ashley and the other women in the house celebrate by getting drunk, smoking some marijuana, and heading out to a private party attended by other people in the adult entertainment industry.

“Pleasure” skips over a lot of details about what happened to Bella from the time that she arrived at the airport in Los Angeles to the time she does her first sex scene in a porn movie. It’s never shown how Bella ended up living in the house, which is occupied by women (including Bella), who all have the same agent. His name is Mike (played by Jason Toler), who actually is not a predator but who is someone who treats his clients with a decent amount of respect. However, as Bella later finds out, Mike has no use for clients who are hopelessly naïve about the type of work required in porn. Mike also doesn’t like it when people make promises that they can’t keep.

Bella’s first sex scene in a porn movie (which is filmed at a house) shows how she has a mixture of real and false confidence in how she wants to do this work. Before she starts filming the scene, she does a required video interview with a “jack of all trades” porn worker named Bear (played by Chris Cock), who acts as a camera operator, human resources supervisor and a porn actor—sometimes all on the same day. Bear is an easygoing person who has a secret that Bella finds out later in the movie. Bear’s secret isn’t shocking, but it’s surprising to Bella.

In the video interview, which is done for legal reasons, Bella has to show proof that she’s at least 18 years old by showing her ID. She says she was born on April 27, 1999, and she holds that day’s newspaper up to prove the date that she made this video. The video interview also includes Bella consenting to whatever she ends up doing on camera. In addition, she has to sign release forms and other legal paperwork related to making this porn movie. She does all of these procedures with self-assurance and no hesitation.

Even though Bella claims that her biggest goal in life is to be a porn star, she gets nervous and scared before her first sex scene, where she will be performing different sex acts with a flabby man named Brian (played by John Strong), who appears to be in his late 40s to early 50s. It’s one of many examples of “Pleasure” showing the double standard in the physical appearances of men and women performers who get hired to do porn movies. Unless the porn movie is about a specific fetish for big women, the women in professional porn movies are rarely allowed to be pudgy, overweight or over the age of 50, while men are allowed to be a variety of ages and body types.

Sensing her hesitation, the director Axel Braun (playing a version of himself) tells Bella that she has “stage fright.” Bella says, “I feel so stupid.” The director then tells her, “You just overcome it and push past it. But no pressure.” He then adds to convince her to do the scene: “I need you to be a little shy,” since the scene is about a virginal young woman being “seduced” by an older man.

After Bella finishes her scenes in the movie, she proudly takes photos of herself with semen all over her face and posts the photos on her social media, to announce to the world that she is now officially a porn actress. Later, Bella relaxes near the house swimming pool with Bear and Axel. She asks the director for advice on how to become a successful porn star. He tells her, “Just look like you’re enjoying yourself.”

Later, when Bear gives her a car ride, he asks her why she moved all the way from Sweden to become a porn star. Bella replies: “I’m out here because I just want to fuck. And Swedes, they just suck. They’re boring. They enjoy feeling sorry for themselves.”

Despite this display of arrogance, Bella still shows how young and naïve she is when she expresses surprise after Bear (who is African American) tells her that interracial sex scenes in porn are considered more taboo and more “deviant” than almost any other sex acts. When Bella tells Bear that this attitude sounds racist, he bluntly tells her that it is, but it’s reality. Bella says that if the opportunity came up, she wouldn’t mind doing a sex scene with Bear, who tells her that he will be there for her if she ever needs advice or help.

In an early scene in the movie, Bella also says that she’s open to any sex with a man or a woman on camera, except for anal sex. It’s another an example of how clueless Bella is if she thinks she can become a major porn star without doing anal sex on camera. It’s not long before she finds out that she’ll have to willingly change her “no anal sex on camera” rule if she wants to be a porn star.

The most sought-after porn agent in Los Angeles County is a sleazy-looking, middle-aged schlump named Mark Spiegler, playing a version of himself. “Pleasure” has several cast members who are in the adult entertainment industry in real life, including Mick Blue, Xander Corvus, Chanel Preston, Small Hands, Abella Danger and Ryan Mclane. Some are playing versions of themselves with the same names, while others are playing fictional characters with different names. It’s repeated several times in “Pleasure” that the actresses who work for Mark, who are often called Mark Spiegler Girls, are among the highest-paid in porn, because they are willing to do extreme sex acts on camera.

It should come as no surprise that Bella and Joy want Mark to be their agent. On the night of Ashley’s birthday, the women housemates head to a private party at a mansion, where they look on enviously outside the party, as Mark and his entourage are treated like porn royalty. Bella sees Bear outside as he’s about to go inside the mansion. Bella approaches Bear with a hug and a smile, and she uses him to gain admission, while leaving her housemates outside to figure out on their own how to get into the party. It’s the first sign that Bella will place her own needs above loyalty to any of her friends.

The other housemates end up getting access to the party, which has a special roped-off section reserved just for Mark and his entourage. Once inside the party, Joy and Bella try to figure out a way to get access to Mark. But in the meantime, Joy (who’s very drunk) gets somewhat giddy and star-struck when she sees a good-looking porn star named Caesar (played by Lance Hart), whom she finds very attractive.

Not long after eying Caesar from afar, Joy goes up to Caesar (who is talking in a group of people), and tries to flirt with him, but he calls her “trashy” and essentially dismisses her. An insulted Joy yells at Caesar and then pushes Caesar into a nearby pool. Joy, Bella and the rest of the housemates are kicked out of the party. There are repercussions to this incident that are shown later in the movie.

Joy has a quick temper, but she also has a very generous side, such as being willing to help the less-experienced Bella in many aspects of adult entertainment, including how to pose in photo shoots. At one such photo shoot, Joy and Bella meet a porn model/actress named Ava (played by Evelyn Claire), who is as standoffish as she is pretty. Ava has this snooty response when Joy tries to strike up a friendly conversation with her: “I’m not here to make friends. I’m here to work.” Ava also plays a big role in a major turning point in Bella’s journey in the porn industry.

People often hear that in the porn industry, female entertainers are generally paid more than male entertainers. But what “Pleasure” shows in no uncertain terms is that women in porn are degraded on camera much more than men in porn. Men are also usually the people in control of directing and owning the porn content. And the business owners (who are almost always men) of porn are really the ones who profit the most from porn. In other words, as much as some women can claim that doing porn is “empowering” for women, the reality is that porn is mainly controlled and dominated by men, who have most of the power in porn.

During the course of Bella’s experiences in porn, almost all the directors, crew members and photographers who tell her what to do are men. If there are any female crew members on the movie set or photo shoot, they have stereotypical non-supervisor roles of doing hair and makeup. On the rare occasion that Bella works with a female director (Aiden Starr, playing a version of herself), “Pleasure” shows how differently Bella is treated on the set of a porn movie directed by a woman. The process is more collaborative, and more care is taken to check in on Bella’s safety and what she’s willing or not willing to do on camera.

Most of all, “Pleasure” isn’t so much about the sex acts that are done in the movie. It’s about how blind ambition can chip away at someone’s self-worth and soul in an all-consuming quest for fame. At one point, Bella becomes so desperate, she offers to do porn for free.

There are moments in “Pleasure” when Bella trusts her instincts and knows that she’s doing things that she doesn’t really want to do in these porn movies, but she’s made to feel guilty by people telling her in various ways that if she hesitates, she’s being “unprofessional” and “immature” and “not ready” to be a porn star. And if she hesitates, she’s also put on a guilt trip (usually by the male director) about how her hesitation can cost everyone money on this movie production. Bella begins to experience more self-doubt, which further fuels any insecurities she already had.

At the same time, “Pleasure” doesn’t let Bella off the hook either, because she often brags to people that she’ll do whatever it takes to become a porn star. But when she’s expected to do “whatever it takes,” she sometimes backtracks. And that should be her right. However, “Pleasure” shows (without passing judgment) that a lot of people who think they can handle doing porn (and the repercussions that come with it) really are not emotionally equipped to handle it at all. Bella changes her mind about a lot of her “boundaries,” which is realistic for anyone who wants to become a porn star as badly as she does.

People who pay attention and notice if a movie has a “male gaze” or “female gaze” will notice that “Pleasure” can be considered a “female gaze” film. Full-frontal female nudity in “Pleasure” is rarely shown in the sex scenes, but male full-frontal nudity is shown more often. Female genitals are shown in the context of things other than sex, such as when Bella is shaving her vagina. The movie’s sex scenes show suggestions of what’s happening, but not actual penetration.

And although the scenes involving degradation and exploitation will be very difficult to watch for many viewers, “Pleasure” ultimately shows that in every situation, Bella does have the option to stop. This isn’t rape, forced prostitution or sex trafficking, but “Pleasure” shows how dangerously close the porn industry comes to taking away consent when pressuring people into doing things they feel hesitant about doing.

As realistic as “Pleasure” is in many aspects, the movie is a not a comprehensively accurate movie in how it depicts the porn industry. For example, issues regarding sexually transmitted diseases and rampant drug/alcohol abuse are barely mentioned or not mentioned at all. In real life, porn performers who do sex acts with people on camera are quick to tell people that they regularly get tested for STDs before being allowed to work in professional porn jobs. None of this STD testing is shown or mentioned in “Pleasure.” And neither is the porn occupational hazard of addictions to drugs and alcohol.

Bella is also a blank slate when it comes to her motivations in becoming a porn star. The only slight insight that the movie shows is when an emotionally bruised Bella has a phone conversation with her mother. In this conversation, Bella seems to want to go back to Sweden, without telling her mother the real reason why.

Bella tries to blame it on the people in Los Angeles, but her mother (voiced by Eva Melander) comments that Bella needs to face whatever problems she’s having in Los Angeles, because there will be difficult people no matter where she lives. Bella’s mother also mentions that Bella had similar complaints about the people in Sweden. This conversation reveals that Bella thought she’d be happier if she reinvented herself in another country, but she’s finding out that she can’t find happiness in superficial ways if she’s still unhappy within herself.

“Pleasure” is not going to be enjoyed by people who expect morality preaching about porn. Some viewers might also be disappointed if they expect “Pleasure” to have a very clear and definable ending. Bella’s ambivalence and contradictions about how far she’s willing to go are very realistic of people who do porn but who do not have a strong sense of who they really are. Porn might be an extremely risky way to find fame, but “Pleasure” shows how a fame-chasing mindset in any profession can lead to cutthroat acts of exploitation and degradation.

Neon released “Pleasure” in select U.S. cinemas on May 13, 2022. The movie is set for release on digital, VOD, Blu-ray and DVD on June 21, 2022. “Pleasure” was released in Sweden in 2021.

Review: ‘Hatching,’ starring Siiri Solalinna, Sophia Heikkilä, Jani Volanen, Oiva Ollila and Reino Nordin

May 20, 2022

by Carla Hay

Siiri Solalinna in “Hatching” (Photo courtesy of IFC Films/IFC Midnight)

“Hatching”

Directed by Hanna Bergholm

Finnish with subtitles

Culture Representation: Taking place in unnamed parts of Finland, the horror flick “Hatching” has an all-white cast of characters representing the working-class and middle-class.

Culture Clash: A 12-year-old girl brings home and secretly hides a mysterious bird’s egg, which grows, hatches, and lets loose a terrifying and deadly creature. 

Culture Audience: “Hatching” will appeal primarily to people who are interested in watching suspenseful horror movies that use gory images as symbols of repressed feelings that affect relationships.

Siiri Solalinna, Sophia Heikkilä, Jani Volanen and Oiva Ollila in “Hatching” (Photo courtesy of IFC Films/IFC Midnight)

“Hatching” is a thoroughly absorbing horror movie that uses the hatching of a mysterious egg as a representation of childhood angst and inner demons. In its uniquely gruesome way, “Hatching” offers astute observations of adolescent rebellion in a dysfunctional home. It’s a very impressive feature-film debut from director Hanna Bergholm. “Hatching,” which was written by Ilja Rautsi, had its world premiere at the 2022 Sundance Film Festival.

Most of what happens in “Hatching” (which takes place in unnamed parts of in Finland but was filmed in Latvia) is spoiler information that would give away too many surprises in the movie. However, it’s enough to say that “Hatching” doesn’t waste time in showing that something sinister is about to happen in the home of 12-year-old Finnish girl Tinja (played by Siiri Solalinna), who lives with her parents and her younger brother. It’s a family that, on the surface, appears to be happy, loving and “perfect.” But not everything is what it first appears to be in “Hatching.”

“Hatching” opens with a scene that shows a familiar activity in this household: Tinja’s status-conscious mother (played by Sophia Heikkilä), who does not have a name in the movie, is making another video for her social media blog called “Lovely Everyday Life.” It’s a stereotypical “mommy blog,” where a mother tries to project that she has a picture-perfect life with her husband and children. Even when she’s at home, Tinja’s mother dresses as if she’s about to do a photo shoot for an article about how glamorous mothers are supposed to look.

Tinja’s mother has gathered her unnamed husband (played by Jani Volanen), Tinja and Tinja’s younger brother Matias (played by Oiva Ollila), who’s about 9 or 10 years old, into the house’s living room to film another video showing how “happy” they all are in this family. It’s never stated what the source of the family’s income is, but they have a well-kept, middle-class home. The names of Tinja’s mother and Tinja’s father seem to be deliberately unmentioned, as a way to show they could be like any other parents.

Viewers will immediately notice that Tinja and her mother physically resemble each other (they’re both pretty with long, blonde hair), while Tinja’s father and Matias have a similar physical appearance of wearing glasses and looking a little nerdy. However, the parents’ personalities are not similar to their look-alike children. Unlike her extroverted and talkative mother, Tinja is shy and introverted. Matias is outspoken and inquisitive, unlike his father, who is passive and doesn’t ask a lot of questions. Different scenes in the movie show that Tinja’s mother is much more attentive to Tinja than to Matias.

The family’s video session is suddenly interrupted by a thumping sound on a nearby window. Tinja goes to the window to find out the cause of the noise. When Tinja opens the window, a large black bird suddenly flies into the house and starts frantically flapping everywhere in the room, causing several glass items to shatter. The family members try to capture the bird, but it makes the chaos worse, because in chasing after the bird, the family members cause other items in the room to break too. The biggest item that breaks is a glass chandelier, which is destroyed when the bird flies into it, and the hanging chandelier crashes to the ground.

Eventually, the bird is captured. In front of her family members, Tinja’s mother holds the bird in a blanket and snaps its neck to kill it. She kills the bird with no hesitation and with a hint of sadistic pleasure, as if she’s smugly happy to get revenge on this animal that caused damage to her picture-perfect home. Tinja then puts the bird in a trash bin in the family yard. As she walks away, Tinja does not see the bird twitch, as if it’s still alive. And you know what that means in a horror movie.

Not long after this incident, Tinja is out walking in the nearby woods at night because she heard strange noises coming from the woods. She sees a large black bird on the ground. This bird is severely wounded for unknown reasons and is barely alive. To put the bird out of its misery, Tinja kills it with a rock.

And not far from the bird, Tinja finds a small egg, which she takes home and hides underneath her bed pillow. The egg quickly grows into the size of a very large watermelon. Observant viewers will notice that the egg gets bigger every time that Tinja experiences something that makes her very anxious.

Tinja is a gymnast who is being pressured by her mother to win important competitions. Tinja’s mother often watches Tinja during Tinja’s gym practices. When she is practicing gymnastics moves, Tinja generally does well, but she has a tendency to falter when she gets very nervous. And her mother makes her nervous. Tinja’s female gymnastics coach (played by Saija Lentonen) is tough but not abusive. Tinja’s closest friend in her gymnastics class is Reetta (played by Ida Määttänen), who is friendly and outgoing.

Tinja’s mother is the type of parent who will demand that her child keep practicing until everything is perfect. One day, after all the other gymnastics students have left because the practice session is over, Tinja’s mother insists that Tinja can’t leave until she perfects the gym move that Tinja had been practicing. The coach tells Tinja’s mother that it won’t be necessary, since the practice session has ended for the day, but Tinja’s mother persists until Tinja does what is expected of her.

On another occasion, Tinja’s ultra-competitive mother puts on a fake smile when she asks Reetta if she plans to enter the qualifying round of an upcoming competition. When Reetta says yes, Tinja’s mother then makes a point of telling Reetta in front of Tinja that Reetta will have to work extra-hard to defeat Tinja. It puts Tinja in an awkward position of reminding Tinja that she will be competing against Reetta, who is her closest friend. Reetta is not as intense about the competition as Tinja’s mother wants Tinja to be, but since this is a horror movie, you just know that Reetta is not going to go unscathed in this story.

As much as Tinja’s mother is obsessed with projecting the image of “perfection,” she is far from perfect. Tinja finds out one day when she comes home from gym practice alone. A repairman named Tero (played by Reino Nordin) is in the living room with Tinja’s mother because he is replacing the broken chandelier. Tero is younger and better-looking than Tinja’s father.

At first, Tero and Tinja’s mother don’t notice that Tinja has seen them in the room. Tinja is shocked when she sees her mother slowly rubbing Tero’s leg. And then Tinja’s mother and Tero kiss like lovers, but they quickly stop kissing when they see that Tinja has witnessed this act of infidelity. A little later, Tinja’s mother goes into Tinja’s room to explain what Tinja saw.

“Sometimes, adults have these special friends,” Tinja’s mother says. Tinja asks, “What about Dad?” Her mother replies, “Dad is Dad. You know what he’s like. How about we keep this between us?” Tinja’s mother then says that she’s going away for a few days, implying that it’s probably going to be a tryst with Tero.

Tinja tries to pretend that she’s okay with finding out about her mother’s infidelity, but deep down, it really bothers her. And this burden is made worse because her mother expects her to keep it a secret. However, there’s a point in the movie where Tinja’s father lets it be known to Tinja that he knows that his wife is having an affair with Tero, but Tinja’s father prefers to keep quiet about it because he loves his wife and wants to stay married to her.

Around the time that Tinja finds out about her mother’s extramarital affair, the egg gets larger and eventually hatches. And what comes out of the egg ends up wreaking havoc on people inside and outside the home. It’s enough to say that Tinja ends up naming the creature Alli.

“Hatching” is one of those movies that could have turned out looking tacky and amateurish if it had the wrong cast members and the wrong director. That’s because some parts of the screenplay needed better explanations. For example, the scene where Tinja discovers the egg looks too random and not that believable. What 12-year-old kid is going to walk alone in the woods, in the dead of night, just because of hearing some bird squawking?

There’s another part of the story where Reetta is walking alone at night in an isolated area. That scene also looks a little too fake and contrived. However, those are minor flaws when most of the movie is filmed in a way that makes it believable that Tinja has grown both fond of and afraid of this creature that hatched from the egg.

“Hatching” also makes a point of showing that although it would be easy to assume that this creature is the movie’s villain, Tinja’s self-absorbed mother also does a lot of damage too. In addition to pressuring Tinja to be perfect, Tinja’s mother has inappropriate and hurtful conversations with Tinja about Tero.

At one point, Tinja’s mother tells Tinja: “I think I’m in love. Tero is the best thing that ever happened to me. This is the first time in my life I feel like I really love someone. I have to see where it takes me.” How do you think that would make any child feel to hear a parent say that about someone else?

As good as the cast members are in their roles, this movie really stands out because of Solalinna and her stunning feature-film debut in “Hatching.” As Tinja, she portrays a wide range of emotions with authenticity, along with showing the angst of a child who has to present different sides of herself to the world, in order to keep certain secrets. More than a typical horror movie, “Hatching” shows how destructive this secrecy can be.

Bergholm brings the right amount of pacing to the movie, although at times there’s some unnecessary repetition over how close the creature comes to being discovered in Tinja’s room. The movie’s visual effects are not award-worthy, but they get the job done well in fulfilling a certain purpose. With “Hatching,” the filmmakers and cast members seem to understand that the best horror movies aren’t always about what’s seen on screen but how what happens in the story makes viewers feel. “Hatching” shows in alarming details how the pressure on girls to be “perfect” can be its own kind of horror story.

IFC Films/IFC Midnight released “Hatching” in select U.S. cinemas, on digital and VOD on April 29, 2022.

Review: ‘Sweetheart Deal,’ a documentary about sex workers of Aurora Avenue in Seattle

May 8, 2022

by Carla Hay

Tammy in “Sweetheart Deal” (Photo courtesy of Aurora Stories LLC)

“Sweetheart Deal”

Directed by Elisa Levine and Gabriel Miller

Culture Representation: Taking place in Seattle from 2012 to 2016, the documentary film “Sweetheart Deal” features an almost all-white group of people (with one Native American person) representing the working-class and middle-class and who are connected in some way to sex workers of Seattle’s Aurora Avenue.

Culture Clash: The four sex workers who are featured in the documentary have struggles with exploitation and drug addiction. 

Culture Audience: “Sweetheart Deal” will appeal primarily to people interested in documentaries that reveal the brutal realities of drug-addicted sex workers.

Sara in “Sweetheart Deal” (Photo courtesy of Aurora Stories LLC)

“Sweetheart Deal” takes an unflinching look at four drug-addicted sex workers in Seattle, but what they experience can happen to anyone with the same struggles anywhere. This documentary is a cautionary tale that offers glimmers of hope. “Sweetheart Deal” doesn’t offer easy solutions to the destructive cycle of drug addiction, but the four women who shared their lives for his documentary are examples of how addicts get trapped in this cycle and need more than will power to stop their self-destruction. And sometimes, the damage is permanent.

Directed by Elisa Levine and Gabriel Miller, “Sweetheart Deal” had its world premiere at the 2022 Seattle International Film Festival. Based on events shown in the documentary, it appears to have been filmed mostly from 2012 to 2016. However, only observant viewers or those who know what happened in the movie’s real-life twists would be able to know the timeline of events and in what years they took place.

“Sweetheart Deal” was filmed and edited in a way that doesn’t make it obvious that this movie was filmed in the 2010s, although there are some subtle clues, such as the types of phones that people are using. You can also tell that this documentary was filmed before 2020 because there are no signs of people being affected by a coronavirus pandemic. “Sweetheart Deal” co-director/cinematographer Gabriel Miller died in 2019, at the age of 47.

“Sweetheart Deal” does not reveal the last names of the four women who get the spotlight in the documentary. It’s an example of society’s large stigma on people who are involved in sex work—especially for women sex workers, who usually get most of the punishment and shaming out of all the people (workers and customers) involved in the sex business. At the time this documentary was filmed, all of the women were needle-using heroin addicts selling sexual services on Seattle’s notorious Aurora Avenue, which is known as a place for rampant drug activity and prostitution.

These are the four women who get the spotlight in “Sweetheart Deal”:

  • Kristine, a welder by trade, says she got into prostitution after she couldn’t find other work.
  • Krista, using the alias Amy for her street name, was an overachieving student in high school and college until drug addiction took over her life.
  • Sara, a divorced mother of two sons and a daughter (who were teenagers at the time this documentary was filmed), lost custody of her kids because of her drug addiction.
  • Tammy, a drug addict since she was a teenager, financially supports her parents, who know she is a prostitute.

Kristine, who can be funny and sarcastic, talks about having felony convictions (which she does not detail in the documentary) that prevent her from getting a lot of jobs. At the age of 17, she says that was “on the streets” after getting out of a juvenile detention center. Despite her criminal record, Kristine is the only one in the group who is shown getting a job that’s not in the sex business. Kristine (who says she has to be high or drunk when doing sex work) does not mention anything about her family background in the documentary. However, Kristine shows that she places a high value on truth and honesty in a world full of deceit and betrayal.

Krista, who is an acquaintance of Kristine, goes through the most drastic physical transformations throughout the documentary. At her worst, she’s covered in scabs and goes through extremely painful drug-related sickness bouts, where she cries out in agony, vomits, and can barely get out of bed. Krista (who grew up in a middle-class home with her parents) is very close to her mother Stacy, who is briefly interviewed in the documentary. Stacy comes to Krista’s rescue on more than one occasion when Krista says that she wants to quit doing drugs. Multiple times throughout the documentary, Krista expresses guilt over how her drug addiction has caused her mother a lot of stress and agony.

Sara also comes from a middle-class, two-parent home. Her biggest emotional pain comes from not being able to be the type of mother that she wishes she could be. She is especially hurt over the love/hate relationship that her daughter has with her. It’s briefly mentioned that Sara’s kids are being raised by Sara’s parents and Sara’s ex-husband. Later in the movie, Sara has a medical crisis where she ends up having to be treated in a hospital. At another point in the movie, Sara moves in with her best friend Rae (who also has drug addiction problems), and she says that Rae is like a sister to her.

Tammy, who also grew up in a middle-class home, has a complicated relationship with her parents, whom she says were abusive to her when she was a child. As an example, she says that her mother would lock her out of the house, knowing that Tammy would be bullied by other kids. Tammy also says her parents kicked her out of the house when she was 12 because they didn’t want her living with them anymore. At this point in her childhood, Tammy says she got involved with a drug dealer, who set her on a path of drug addiction.

For most of the movie, Tammy is living with her parents, who know about her drug addiction, but she doesn’t do drugs in front of them. Tammy says that the seemingly nice parents that people will see in this movie are not the same parents who were cruel to her when she was a child. Tammy also says that she has forgiven her parents for mistreating her. However, there are signs that Tammy still has a lot of resentment and unresolved issues about her parents.

In a scene where Tammy is at home with her parents, her father (who calls himself a cowboy from Montana) gets emotional when he tells her how fearful he is that Tammy will get killed in her line of work. However, Tammy somewhat rolls her eyes and doesn’t seem very moved by his concerns. She later bitterly comments in a private interview that when her parents need cigarettes from her, “They know I’ll suck an extra dick, just to make sure that I have cigarettes.”

As expected, “Sweetheart Deal” shows all four women injecting heroin and trying to hustle up sex work. Their customers are not shown on camera. Some of the women are also enrolled in methadone programs in their various attempts to quit doing heroin. Tammy, who estimates that she spends $200 to $300 a day for her heroin addiction, is the one who expresses the most skepticism about her ability to quit doing drugs: “I don’t know if I’ll ever stop. I don’t see it happening.”

Near the beginning of the documentary, Kristine explains why it’s so difficult for drug addicts and other self-destructive people to quit drugs and turn their lives around for the better: “Even if you’re in the wrong life, what’s familiar is what’s comfortable … Something happens in life where somewhere along the way, they take a wrong turn, and they can’t find their way back.”

There have been many other documentaries that show how drug addicts often turn to prostitution to support their drug habits. “Sweetheart Deal” is unusual because in addition to the four sex workers featured in the movie, this documentary also prominently features a scruffy old man named Laughn Elliott Doescher, who spent a lot of time with these sex workers, by offering them a temporary place to stay and free meals in his Winnebago motorhome. Doescher became so well-known in Seattle for befriending sex workers that he was nicknamed the Mayor of Aurora.

“Sweetheart Deal” takes a very insular approach, by only interviewing the four sex workers, Doescher, his mother and Krista’s mother. Everyone else who’s seen in the documentary is not interviewed. It doesn’t feel exclusionary, because sometimes too many talking heads can ruin a documentary by making the documentary too jumbled or unfocused. It seems as if the filmmakers wanted to present the film from the perspectives of the sex workers and the man who made an impact on their lives.

Doescher (who is called by his middle name Elliott by his friends) is first seen in the documentary’s opening scene, as he gently holds some pigeons on the street. He ends up keeping one of the pigeons in his home as a pet. And he also has a pet cat. There are several scenes of Doescher treating animals with love and kindness. His motorhome is extremely cluttered and cramped, but he presents himself as someone who always has room in his home and his heart to help those who are less fortunate than he is.

One thing that the documentary never explains or shows is Doescher’s source of income, because he certainly isn’t shown working at any job. In the movie, he says he’s 63 (but he looks at least 10 years older than that), which would make him too young to qualify for Social Security benefits. His employment background is also never mentioned, so viewers can only speculate where he gets his money.

He’s later shown with his widowed mother in her home. (He obviously doesn’t come from a wealthy family.) Doescher’s mother, whose first name is not shown in the movie, says he was the middle child of her three children. She describes him as someone who was a good and responsible child, but sometimes eccentric, with a tendency to do “everything in extremes.” Doescher’s mother also mentions that her husband, a veteran of World War II, came home “emotionally damaged” from the war, and this trauma made Doescher become a pacifist.

The production notes for “Sweetheart Deal” mention that Doescher “had been trained as a medic for [the war in] Vietnam before opting out as a conscientious objector,” but it’s not mentioned in the documentary. This medical training explains why Doescher feels comfortable attending to the sex workers when they’re going through drug withdrawals. He gives them certain prescription medication to make the withdrawals easier for them, with no explanation for where he gets this medication.

Doescher is presented as one of the few people whom these women could trust in their lives as sex workers. In the beginning of the documentary, Sara comments about her close relationship with Doescher: “That’s one in a million. You don’t find that [all the time]. All these people out here, they’re fucking sharks.”

Although Sara expresses a lot of cynicism about being able to find a true friend, she has Rae as a best friend whom she can completely trust. Sara and Tammy are also close, but they have an on-again/off-again relationship. Later in the movie, Sara and Krista seem to become friends too. Sara is also friendly with Kristine. In a scene where Kristine and Sara shoot up heroin together, Sara gives some of her heroin stash to Kristine, who is feeling “dopesick.”

When the women visit Doescher, he’s ready to comfort them with free food (which he often cooks himself), compliments and a place where they can sleep for as long as they want. He’s also shown helping them when they go through drug-related withdrawals/sickness or recovering from violent customers. He’s their confidant and counselor who’s willing to listen to all of their problems.

Doescher also presents himself as being a protector who’s ready and willing to seek justice for his sex worker friends who’ve been violated. In the beginning of the documentary, Krista/Amy has survived a brutal rape and other assaults from a customer. She literally had to escape from the customer’s home and genuinely feared that he was going to kill her. Krista/Amy tells Doescher all the details, and they secretly drive back to the customer’s home to get his address and his car’s license plate number.

With Krista/Amy’s permission, Doescher is then seen making a phone call to report this information to law enforcement in Seattle. It turns out that this customer has been under suspicion of being a serial rapist of women sex workers in the area. Doescher says he wants to do whatever he can to help bring this alleged criminal to justice.

But some cracks begin to show in Doescher’s “hero” persona. It starts with a scene where Seattle Times reporter Christine Clarridge interviews Doescher in his home to talk to him about the case and how he knows the sex workers of Aurora Avenue. After warmly greeting her, Doescher looks at her flirtatiously and says, “I can see why you have a stalker. Oh my goodness. Now, you’re going to have two [stalkers].” It’s a very creepy thing to say to anyone as a compliment.

During the interview, when Clarridge asks Doescher if he’s sexually involved with the prostitutes who get food and shelter from him, he reveals: “I have relationships with most of these girls, but I help them a lot. And if they’re ever in trouble, they can come to me, and they can count on me. And if they ever need me, they can spend the night.”

As soon as Doescher admits that he has a “friends with benefits” situation with the sex workers, it should immediately make viewers sense that something isn’t right about Doescher, who keeps calling these sex workers “girls” instead of “women.” When he touches them or calls them terms of endearment, such as “sweetheart,” it’s with a weird tone that seems as if he wants to be like their father and their lover. And although he doesn’t judge them harshly for their lifestyles, he doesn’t seem to put a lot of effort into trying to help them get clean, sober and on the path to having a healthy life.

There are some other things that Doescher says that are inconsistent with how he looks and what he does. Doescher claims that even though he’s never done drugs in his life, and he vehemently states that he will never do drugs, he has empathy with people who have addiction problems. However, Doescher’s unhealthy physical appearance indicates that he has addiction issues too: He has a “drinker’s nose,” with all the signs of rhinophyma (such as damaged-looking blood vessels on a bulbous-looking nose) that are associated with alcoholism.

The movie has a very telling scene where Doescher spends time with Tammy on her birthday. In his home, he gives her a birthday card. Tammy says he’s the only person in her life who remembered her birthday by giving her a card that day. Doescher then takes Tammy to a restaurant to celebrate her birthday.

At the restaurant, Doescher kisses Tammy like they’re on a romantic date. Tammy is drinking alcohol, and he tells her that he wants her to get drunk so that she can spend the night at his place. Doescher also mentions that he has Klonopin pills to sell to Tammy, although later he seems slightly annoyed with himself and with Tammy that they talked about this drug deal on camera.

The documentary later reveals there’s somewhat of a “love triangle” between Doescher, Tammy and Sara. Tammy and Sara, who both say they’re openly bisexual, were apparently lovers at some point. Multiple people in the documentary say that Sara is Doescher’s “favorite.” It’s implied that out of all the sex workers he’s involved with, Sara is the one he “loves” in a way that goes beyond a “friends with benefits” relationship.

At one point in the movie, Sara says of Doescher: “I love him and I hate him at the same time. He’s a slimy old man, but I know what to expect from him. He doesn’t lie about it or try to hide it.” Tammy also mentions that Doescher has a sleazy side to him. Kristine and Krista seem to be a lot more trusting of Doescher.

Sara tries to quit drugs at Doescher’s place, but after two weeks of staying there, she abruptly leaves without telling him where she went. Doescher is upset that Sara has “disappeared,” but he seems fairly sure that he’ll see her again. It’s later revealed that Sara asked Tammy to help her leave, and Sara had to do it in secret because she knew that Doescher would be very jealous and upset if he knew Tammy was involved in helping her leave. Doescher starts to look less like a caring friend and more like a possessive manipulator.

There are some twists to the story that aren’t too surprising, considering all the signs foreshadowing certain things that end up happening. It doesn’t make the turn of events any less disturbing. And a lot of viewers will be shocked. “Sweetheart Deal” is not only an unforgettable chronicle of damaged lives, but it’s also a journey that leaves room for healing. The filmmakers have told this story of these women with compassion and without passing judgment, while truthfully showing that not everyone in life gets a happy ending.

2022 Tribeca Film Festival: Tribeca Talks, Reunions, Master Classes lineup announced

May 2, 2022

 The following is a press release from the Tribeca Film Festival:

The 2022 Tribeca Festival™ today released the lineup for Talks and Reunions,  featuring conversations with critically acclaimed actors, performers, artists, and entertainers.

The Talks program includes Grammy winner Taylor Swift, Grammy winner Pharrell Williams, NBC Late Night host Seth Meyers in conversation with Saturday Night Live’s Aidy Bryant, Tony winner Cynthia Erivo, DJ Steve Aoki, comedian Tig Notaro, photographer and artist JR, director and stand-up comedian W. Kamau Bell, and television writer and producer Phil Rosenthal in conversation with actor and director Alex Edelman.

Tribeca Talks: Directors Series features award-winning actor, director, producer, and screenwriter Tyler Perry in conversation with co-host of CBS Mornings Gayle King, and artist and director Julian Schnabel discussing his groundbreaking 2000 film Before Night Falls. The series also includes a virtual conversation with Academy-winning director, producer, and screenwriter Adam McKay moderated by IndieWire’s Eric Kohn, available exclusively through Tribeca at Home.

“We are excited to present a compelling slate of Talks, Reunions, and Master Classes from leading storytellers across film, television, music, art, and comedy,” said Paula Weinstein, Tribeca’s Chief Content Officer. “Audiences will have the opportunity to hear from a diverse and captivating lineup of award-winning entertainers at the forefront of cultural leadership.

The Tribeca Festival continues its recognition of some of Hollywood’s most celebrated films through Reunions. Headlining the exclusive screenings and panels are award-winning actors Robert De Niro and Al Pacino, who will be joined by director Michael Mann and producer Art Linson to discuss Heat, moderated by journalist and filmmaker Bilge Ebiri. Director Kasi Lemmons, producer Caldecot “Cotty” Chubb, Meagan Good, and additional members of the cast of Eve’s Bayou will celebrate its 25th anniversary and director Todd Haynes, producer Christine Vachon, and actors Ewan McGregor and Micko Westmorland will reunite to celebrate and discuss the 25th Anniversary of Velvet Goldmine.

In honor of the 50 anniversary of the Academy Award-winning classic The Godfather, Tribeca will screen a remastered version of the film that will be introduced by star Al Pacino, who played the unforgettable Michael Corleone.

Additionally, Tribeca is proud to present the second annual Harry Belafonte Voices for Social Justice Award to Academy Award, Emmy, and Grammy-winning artist, actor, author, and activist, Common. The award, an original piece of artwork from Derrick Adams, will be presented by Robert DeNiro. Named for the famed actor, activist, and civil rights leader, the award recognizes those who have used storytelling and the arts to enact change in their communities. Stacey Abrams was the inaugural recipient of the award in 2021.

Finally, Tribeca Talks: Master Classes, a series of free events to engage and learn from film industry veterans, returns with classes on different aspects of the filmmaking process. The series includes a class on documentary directing with Coodie & Chike; discussion with intimacy coordinator Alicia Rodis; conversation with music supervisor Randall Poster; session with former Marvel President & Publisher/AWA Studios CEO Bill Jemas to talk about building a comic book universe; demonstration about the making of The Matrix Awakens: An Unreal Engine 5 Experience with Kim Libreri, CTO of Epic Games; and dialogue with Scott Z. Burns, Dorothy Fortenberry, and the Producers Guild of America on sustainable filmmaking.

Below please find the complete lineup of Tribeca Festival Talks, Reunions, and Master Classes:

Storytellers

Taylor Swift (Photo courtesy of ABC/Image Group LA) 

A Conversation with Taylor Swift

Singer, songwriter, producer, and director, Taylor Swift is an 11-time Grammy winner and the only female artist in history to win the Grammy Award for Album of the Year three times. Her acclaimed album Folklore was released at the height of the COVID pandemic and stayed at the top of the Billboard 200 album chart for eight weeks. In 2021, Swift released “All Too Well: The Short Film,” which she directed, wrote, produced, and starred in. The video will be screened and followed by a conversation with Swift where she will discuss her approach as a filmmaker.

DATE: Saturday, June 11
TIME: 3:00 PM
LOCATION: Beacon Theater

Pharrell in Conversation

Pharrell Williams is a visionary recording artist, producer, songwriter, philanthropist, fashion designer, and entrepreneur. He has been honored with a number of accolades including 13 Grammy Awards, two Academy Award nominations, and Emmy nominations. In this special conversation, Pharrell will discuss his entire ecosystem and what he is focused on now.

DATE: Friday, June 10
TIME: 6:00 PM
LOCATION: BMCC

Cynthia Erivo Goes Back to Broadway

Broadway is back and better than ever! In this intimate conversation, Tony Award-winning actors Cynthia Erivo and André De Shields discuss Broadway’s comeback, accompanied by exclusive clips of a forthcoming documentary entitled Back to Broadway (TIME Studios) from director Jamila Ephron, which explores how issues of race, identity, and labor play out in the lives of the people responsible for making New York City the beacon for dreamers, artists, and tourists around the world.

DATE: Sunday, June 12
TIME: 2:00 PM
LOCATION: Spring Studios

Seth Meyers in Conversation

Seth Meyers is an Emmy Award-winning writer, New York Times bestselling author, and host of NBC’s Late Night with Seth Meyers. Meyers began his TV career with Saturday Night Live in 2001, where he was a cast member for 13 seasons. He served as head writer for nine seasons and “Weekend Update” anchor for eight. In 2019, he released his debut standup special, Lobby Baby, on Netflix. Meyers executive produces Peacock’s The Amber Ruffin Show and IFC’s Documentary Now!, and in total has garnered 27 Emmy nominations. His children’s book, I’m Not Scared, You’re Scared, was released in March 2022. He will be joined in conversation with Saturday Night Live cast member Aidy Bryant.

DATE: Monday, June 13
TIME: 8:00 PM
LOCATION: Spring Studios

JR: Can Art Change the World?

JR exhibits freely in the streets of the world, catching the attention of people who are not typical museum visitors, from the suburbs of Paris to the slums of Brazil to the streets of New York, pasting huge portraits of anonymous people, from Kibera to Istanbul, from Los Angeles to Shanghai. As Russia invaded Ukraine, JR was inspired to create Valeriia, an image of a five-year-old Ukrainian refugee on a 148-foot-long tarp that was held by hundreds of people in the city of Lviv. The image made the cover of Time magazine and has since been on display in different cities throughout Europe. JR will discuss how this project has been an inspiration to people throughout the world, and the two NFT’s he’s set up to fund the project, with the proceeds supporting refugees exiting Ukraine at different border crossings.

DATE: Thursday, June 9
TIME: 6:00 PM
LOCATION: Spring Studios

Phil Rosenthal in Conversation with Alex Edelman

Phil Rosenthal is the creator, executive producer, writer, and host of Somebody Feed Phil, which combines his love of food and travel with his unique humor. He is expanding his love of humor, food, and human connection into his first podcast Naked Lunch launching this Spring, in partnership with Stitcher. This October, he will release his highly anticipated book Somebody Feed Phil: The Book the companion cookbook to his Netflix show. The Everybody Loves Raymond creator will be joined in conversation by actor, writer, and director Alex Edelman.

DATE: Thursday, June 16
TIME: 5:30 PM
LOCATION: School of Visual Arts (SVA)

Tig Notaro in Conversation

Tig Notaro is an Emmy and Grammy-nominated stand-up comedian, writer, and actor. Rolling Stone named her one of the “50 best stand-up comics of all time.” Notaro appears in Army of the Dead and Star Trek: Discovery; created and starred in the groundbreaking TV show One Mississippi and in recently released her second HBO stand-up special, Tig Notaro: Drawn. She will discuss her latest project which she co-directed, with wife Stephanie Allynne, Am I OK?, a feature film that will be available later this year on HBO Max.

DATE: Thursday, June 8
TIME: 6:00 PM
LOCATION: BMCC

W. Kamau Bell and dream hampton in Conversation

W. Kamau Bell is a stand-up comedian and the director and executive producer of the four-part Showtime documentary, We Need To Talk About Cosby. He also hosts and executive-produces the Emmy Award-winning CNN docu-series United Shades of America with W. Kamau Bell. He will be joined in conversation with award-winning filmmaker and writer dream hampton, whose most recent works include the Frameline feature documentary Treasure (2015), the BET docu-series Finding Justice (2019) , and Lifetime’s Emmy nominated Surviving R. Kelly (2019), which broke rating records and earned a Peabody Award. This conversation will be moderated by Double Billing.

DATE: Saturday, June 18
TIME: 4:00 PM
LOCATION: School of Visual Arts (SVA)

Steve Aoki in Conversation with Seth Green

Counting over 3 billion music streams to his name, Steve Aoki is a true visionary. Billboard described the 2x-GRAMMY-Nominated artist/DJ/producer and Dim Mak Records founder as “one of the most in-demand entertainers in the world.” Aoki is a tastemaker, entertainer, designer, entrepreneur, and philanthropist. He will discuss his latest projects with actor Seth Green.

DATE: Monday, June 13
TIME: 6:00 PM
LOCATION: Spring Studios

Dade Hayes and Dawn Chmielewski in Conversation

Dade Hayes has specialized in entertainment business coverage as a writer and editor for Deadline where he is a business editor, and reports on financial and corporate news along with streaming, film, television, technology, and advertising. Dawn Chmielewski is a U.S.-based entertainment business correspondent for Reuters, whose work has appeared in some of the nation’s largest publications. The two will discuss their new book, Binge Times, the first comprehensive account of the biggest disruption in the entertainment industry, the shift to streaming. The conversation will be moderated by Emmy and Peabody Award-winning producer Evan Shapiro.

DATE: Saturday, June 18
TIME: 12:00 PM
LOCATION:  Indeed’s Rising Voices Lounge at Spring Studios 

Directors Series 

Tyler Perry in Conversation with Gayle King

Tyler Perry is an actor, director, screenwriter, producer, playwright, author, and philanthropist. He started his career writing plays, many of which became the inspiration for his films, including the legendary Madea character. In 2019, Perry celebrated the historic opening of Tyler Perry Studios in Atlanta. Among his many honors are the Jean Hersholt Humanitarian Award at the 2021 Oscars and the Governors Award at the 2020 Emmys. He will discuss his career with accomplished journalist and co-host of CBS MORNINGS, Gayle King.

DATE: Monday, June 13
TIME: 4:00 PM
LOCATION: Spring Studios 

Before Night Falls: A Screening and Conversation with Julian Schnabel

Julian Schnabel’s award-winning 2000 film Before Night Falls, follows the real-life journey of Cuban poet and novelist Reinaldo Areanas (Javier Bardem). Arenas, an openly gay man, spent two years in prison before escaping Cuba for a new life in New York. The American Film Institute named it one of its top 10 movies of 2000, and Bardem received numerous accolades for his moving performance including an Academy Award nomination for Best Actor. Tribeca will screen the film with a virtual introduction from Martin Scorsese, and following the screening, Schnabel will discuss the film.

DATE: Sunday, June 12
TIME: To be announced
LOCATION: Pier 57 

Adam McKay in Conversation with Eric Kohn

Academy Award-winning writer/director/producer Adam McKay made his name in the comedy world as head writer for SNL and later co-wrote and directed films such as Anchorman: The Legend of Ron BurgundyStep BrothersThe Big Short, and Vice.  McKay’s latest feature, Don’t Look Up, received four Academy Award nominations including Best Picture and Best Original Screenplay, as well as a WGA Original Screenplay win for McKay. He most recently executive produced and directed the pilot of HBO’s Winning Time: The Rise of the Lakers Dynasty. He will discuss this and his other works with Eric Kohn, Executive Editor and VP, Editorial Strategy at IndieWire. This will be a virtual conversation that will be available through Tribeca at Home.

Reunions 

Al Pacino and Robert De Niro in “Heat” (Photo courtesy of Warner Bros. Pictures)

Heat – A Special Reunion

The brilliantly written and directed crime drama from Michael Mann follows master criminal Neil McCauley (Robert De Niro) as he pulls off a series of heists in LA. In pursuit of McCauley is the obsessive Lieutenant Vincent Hanna (Al Pacino). Both men at the same time are dealing with upheavals in their personal lives and form mutual respect even as they try to derail each other’s plans. After the Screening: A conversation with stars Robert De Niro, Al Pacino, director Michael Mann, and producer Art Linson. Moderated by journalist and filmmaker Bilge Ebiri.

DATE: Friday, June 17
TIME: 7:00 PM
LOCATION: United Palace 

Eve’s Bayou: 25-Year Reunion

Over the course of a Louisiana summer, 10-year-old Eve (Jurnee Smollett) discovers all is not what it seems when it comes to her father (Samuel L. Jackson) and the rest of their affluent family. This riveting southern drama quickly became one of the most acclaimed and successful independent films of 1997.After the Screening: A conversation with director Kasi Lemmons, producer Caldecot “Cotty” Chubb, Meagan Good (Cisely Batiste), and other members of the cast to be announced. Moderated by filmmaker Torell Shavone Taylor.

DATE: Thursday, June 16
TIME: 7:00 PM
LOCATION: School of Visual Arts (SVA) 

Velvet Goldmine – 25-Year Reunion

Journalist Arthur Stuart (Christian Bale) investigates the rise and fall of glam rock star Brian Slade (Jonathan Rhys Myers), who has disappeared from public life following a death hoax ten years before. This BAFTA Award-winning musical drama was written and directed by Todd Haynes, and also starred Ewan McGregor, Toni Collette, Micko Westmoreland, and Eddie Izzard.After the Screening: A conversation with director Todd Haynes, producer Christine Vachon, Ewan McGregor, and Micko Westmoreland.*

DATE: Friday, June 17
TIME: 7:00 PM
LOCATION: BCCM Tribeca 

*UPDATE: Ewan McGregor has cancelled his appearance at this event.

The Godfather: A 50th Anniversary Retrospective Featuring Al Pacino

This year the Academy Award-winning masterpiece, The Godfather, celebrates its 50th anniversary. Considered by many to be one of the greatest films of all time, the movie follows the saga of the Corleone crime family led by Don Vito Corleone (Marlon Brando), then later his son Michael (Al Pacino). Tribeca will screen a restoration of the film with an introduction by star Al Pacino.

Date: Thursday, June 16
Time: 7:00 PM
Location: United Palace 

The Harry Belafonte Voices for Social Justice Award

Common (Photo by Getty Images/Getty Images for Global Citizen)

Common, the Academy Award, Emmy, and Grammy-winning artist, actor, author, and activist, continues to break down barriers with a multitude of critically acclaimed, diverse roles, and continued success in all aspects of his career. Having starred in numerous film and television projects, Common has also worked behind the scenes as an executive producer and on multiple soundtracks for which he has received numerous accolades. Additionally, Common has dedicated countless hours and has been deeply engaged in social justice and advocacy work around mass incarceration, mental health, and voting. He launched The Stardust Kids, an incubator and accelerator collective for emerging artists and creative entrepreneurs, the nonprofit Imagine Justice, and through his Common Ground Foundation, Common is dedicated to empowering high school students from underserved communities to become future leaders. He will be joined in conversation with New York Times columnist and MSNBC political analyst Charles Blow.

DATE: Wednesday, June 15
TIME: 6:00 PM
LOCATION: The School of Visual Arts (SVA) 

Master Classes 

Coodie & Chike

Master Class – Documentary Directing with Coodie & Chike

Fresh off the success of their most recent film, the Kanye West documentary, jeen-yuhs, the Tribeca alumni team of Coodie & Chike return to the festival to discuss the art and ethics of directing documentary films with Loren Hammonds, the Co-Head of Documentary at TIME STUDIO.

DATE: Tuesday, June 14
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) 

Master Class – Intimacy Coordinator Alicia Rodis

Alicia Rodis is one of the pioneers of the Intimacy Coordinator position. A relatively new role in the film industry, Intimacy Coordinators specialize in training performers and industry professionals to better approach intimate scenes. Alicia will delve into the role of an intimacy coordinator and her experiences working on productions like Mare of Easttown, And Just Like That, and Search Party.

DATE: Friday, June 17
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) 

Master Class – Music Supervision with Randall Poster

Over his career Music Supervisor Randall Poster has worked with master filmmakers like Wes Anderson, Todd Haynes, and Martin Scorcese to create some of the most iconic needle drops in film history. In this conversation with Pitchfork contributing editor Jayson Greene, Poster will discuss the role of a Music Supervisor, selecting music for film, and his latest undertaking, The Birdsong Project.

DATE: Wednesday, June 15
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) 

Master Class – Youth Workforce Development

A Master Class for those young people who want to get their start in the film industry but aren’t sure where to turn or how to make inroads. This panel conversation will bring together representatives from creative guilds and industry professionals working in important below-the-line roles to discuss their positions in the filmmaking process and how the next generation of creators can get their start.

DATE: Thursday, June 16
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) AWA

Master Class: Master the Universe, One Comic Book at a Time

AWA Studios is the independent developer of bold and relevant stories from the world’s most outstanding artists, writers, and artisans. During this class, AWA Studios CEO/ Former Marvel President Bill Jemas, Indie filmmaker Ian Grody, Writer & Director Justin Fair, legendary Marvel Comics Senior Editor Ralph Macchio, and AWA Managing Editor Will Graves will discuss how aspiring artists can build their own comic book universe, one story at a time.

DATE: Monday, June 13
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) 

Master Class: The Matrix Awakens – Revolutionary Real-Time Filmmaking with Epic Games

Witness the future of filmmaking – interactive cinema in a real-time game engine. Join Epic Games CTO Kim Libreri, Epic Games’ Art Director Jerome Platteaux, and Colin Benoit, Cinematic Artist at Epic Games, as they take you through the making of The Matrix Awakens: An Unreal Engine 5 Experience and demonstrate live filming in this iconic simulation, merging art forms and technology to trailblaze a new way of filmmaking.

DATE: Thursday, June 9
TIME: 3:00 PM
LOCATION: School of Visual Arts (SVA) 

Master Class – Sustainable Filmmaking with the Producers Guild of America

When Scott Z. Burns and Dorothy Fortenberry set out to make their new show Extrapolation for Apple TV+ they didn’t just want to tell a story that revolves around the dangers of climate change, they wanted to make sure they were walking the walk as well – so they set out with the goal to make their shoot carbon neutral. Fortenberry, along with members of the show’s crew, will discuss the trials, tribulations, and successes of making a television show whose production mirrors its story’s focus on climate and sustainability.

DATE: Friday, June 17
TIME: 1:00 PM
LOCATION: School of Visual Arts (SVA) 

Previously announced: As previously announced, the Tribeca Festival kicks off on June 8 with the world premiere of Halftime, a Netflix documentary by director and Tribeca alum Amanda Micheli that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist. Tribeca 2022 closes on June 18 with the world premiere of Loudmouth, a documentary written and directed by Josh Alexander that puts a disruptive spotlight on Reverend Al Sharpton, who has been at the center of the national conversation around race since the late 1980s. 

Other Festival highlights include the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Rhea Seehorn, Giancarlo Esposito, and Jonathan Banks; the world premiere of Untrapped: The Story of Lil Baby, a feature documentary from director Karam Gill about Lil Baby’s transformational journey from local Atlanta hustler to one of hip-hop’s biggest stars and pop culture’s most important voices for change, followed by a special performance; and live world premiere and conversation with the cast and creators of USG Audio’s The End Up, a podcast series about a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp starring Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds. 

For the latest updates on programming for the 2022 Tribeca Festival, follow @Tribeca on TwitterInstagramFacebookYouTube, and LinkedIn or visit tribecafilm.com/festival and sign up for the official Tribeca newsletter. Tickets to live events and in-person screenings are available for purchase now at tribecafilm.com/festival/tickets

About the Tribeca Festival
The Tribeca Festival brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances. The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022. In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise. 

About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is supported by our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, Diageo, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, and Spring Studios New York. 

Review: ‘Cow’ (2022), starring Luma

May 1, 2022

by Carla Hay

Luma in “Cow” (Photo courtesy of IFC Films)

“Cow” (2022)

Directed by Andrea Arnold

Culture Representation: Taking place in England, the documentary film “Cow” features a cast of white people who are farm employees (and secondary characters) in this non-fiction film about a cow named Luma, who lives on a farm.

Culture Clash: The ups and downs of Luma’s life are documented, as she gives birth to two female calves that are taken away from her soon after she gives birth to them. 

Culture Audience: “Cow” will appeal primarily to people interested in seeing what life is like for a cow on a farm, no matter how uncomfortable it might be to watch.

Luma in “Cow” (Photo by Kate Kirkwood/IFC Films)

“Cow” is not always an easy documentary to watch, because it shows the often-harsh realities of being a cow on a farm. The starkness of this reality is fascinating because it can be heartwarming in some ways and disturbing in other ways. Directed in an unfussy style by Andrea Arnold, “Cow” was filmed at a place in England called Park Farm, and the movie focuses on a black-and-white cow named Luma. The documentary does not have an obvious agenda for people to become vegans or vegetarians. Instead, the movie’s intent is to reveal what a typical cow goes through on a farm, and for viewers think about it when it comes to choices in the food that we eat.

“Cow,” which had its world premiere at the 2021 Cannes Film Festival, might get some comparisons to “Gunda,” another cinéma vérité-styled documentary about farm animals in Europe. “Gunda” (which was filmed in Norway) focused on a pig named Gunda, along with her piglets and some of the farm’s cows and chickens. The ending of “Cow” is a lot more impactful than the ending of “Gunda.”

Realistically, the consumption of meat is big business that won’t be going away anytime soon. “Cow” also doesn’t try to present Luma in a cutesy way to make her look as human as possible. When the camera shows Luma bleating when she has a newborn calf taken away from her soon after giving birth the calf, viewers can certainly think that she’s crying out in distress. There are also moments when Luma’s eyes can be interpreted as showing emotions that humans have, such as fear, sadness, joy or contentment.

“Cow” does not pass judgment on what Luma might or might not be thinking. It’s a true cinéma vérité documentary that chronicles what happens in an observational style, without adding any narration, interviews or other commentary. The only dialogue heard in the film is background talk from the farm employees, who are not identified by name in the movie. The farm employees shown in the documentary are a mixture of middle-aged men, young men and young women.

It’s during one of these snippets of conversation toward the end of the film that viewers find out that Luma is a not a young cow. One of the farm employees can be heard saying that Luma is getting old, and that the older Luma has gotten, the more protective she’s been of her children. Nothing else about Luma’s background, including her age, is revealed in the movie. Based on the farm routine, these children are taken away from her almost as soon as she gives birth to them. The farm employees feed the calves with bottles containing Luma’s milk until the calves are old enough to be weaned away from the milk.

Luma is shown given birth twice in the movie. The birthing is done with the assistance of farm employees. Both of her calves are female. The first one is mostly white. The other is nearly all black. Luma barely has time to bond with them before the calves are taken away to a separate fenced-in area where Luma cannot see them. Sensitive viewers should be warned that there are scenes where Luma appears to be in distress because she’s calling out for her children. It’s all open to interpretation, but that’s what it looks like.

“Cow” also has footage of the mundane routine of Luma and other cows being milked in a dark, warehouse-styled part of the farm, where milking tubes are attached to the cows’ udders, as the cows stand in cramped stalls. It’s literally a dirty job, because this milking facility has floors usually covered with mud. None of this footage should be surprising to people who know that most of the milk consumed by humans is cow milk.

Sometimes when they work, the farm employees also like to listen to pop music, which can be heard in the background. Songs in the documentary include Billie Eilish’s “Lovely,” Soak’s “Everybody Lives You,” Mabel’s “Mad Love” and the Pogues’ “Fairytale of New York.” Some of the pop music that’s upbeat is in marked contrast to the dismal scenes of cows and steers being penned up in dark and dirty rooms and/or they are confined in areas where they barely have space to walk around. The cows and steers on this farm aren’t treated like this all the time, but there’s enough shown where it’s obvious they spend many hours of each day in these living conditions.

Luma shows flashes of her personality in how she greets some of the other cows. Her social and friendly nature is most evident in the happiest parts of the movie, when the cows are allowed to roam free in a field, under the supervision of the farm employees. Many of cows, including Luma, gleefully run and frolic in the field. There are also scenes of them lounging in the fields, much like how people lounge on a beach. Luma occasionally stops to nudge and rub against her fellow cattle and let out the occasional “moo,” as if she’s saying hello to them.

One of the funniest parts of the movie is a “courtship” scene where a big black steer is put in a fenced-in area at night to be alone with Luma. The two of them are alone because the farm employees want the steer to impregnant Luma. It just so happens that fireworks are going off in the sky at that time.

The steer approaches Luma by gently licking her on her back (you can call it “cattle foreplay”) and then mounting her, as the fireworks crackle in the distant sky. It’s unclear if that encounter is the one that led to Luma getting pregnant. But by the time the movie shows her giving birth to the second calf, it’s implied that the black steer is the father.

People watching “Cow” will have varying degrees of emotions, depending on how viewers might feel about eating meat and how people feel about farms where most animals are raised for the sole purpose of being killed for their meat. Fortunately, the documentary does not have any scenes of animals being beaten or mass slayings of animals. And the farm employees, especially the women, talk in friendly tones to Luma and the other cattle when they have to herd them or get the animals to do certain things.

However, the cramped and dirty conditions in which these animals live for most of their existence will upset some viewers who don’t want to see images of this depressing reality. The ending of “Cow” is intended to be a massive jolt to viewers. It serves as an uncomfortable reminder that livestock animals on farms are treated as business products, not pets.

IFC Films released “Cow” in select U.S. cinemas, on digital and VOD on April 8, 2022. The movie was released in the United Kingdom and Ireland on January 14, 2022.

2022 Tribeca Film Festival: immersive lineup announced

April 28, 2022

“Black Movement Libraries”

 The 2022 Tribeca Festival™ today announced its line-up for Tribeca Immersive, a global stage for innovation where top creators debut their latest work. Tribeca’s immersive program showcases cinematic and cutting-edge virtual reality, augmented reality, mixed reality, and participatory experiences by top artists who push the boundaries of creative and emotional storytelling.

For the first time ever, Tribeca features a thematically curated selection of experiences that address human beings’ relationship with nature and society through digital art and advanced technology. The stories blend together to generate an interconnected experience, offering festival attendees a breathtaking interactive journey.

The programming includes best-in-class experiences, including EVOLVER, a journey through the inner landscape of the human body from executive producers Edward R. Pressman and Terrence Malick, created by Marshmallow Laser Feast, with music by Jonny Greenwood; Please, Believe Me, an investigation of Lyme disease from Peabody Award Winner Nonny de la Peña; and Plastisapiens, an exploration of how the environment affects human evolution from Miri Chekhanovich, Édith Jorisch, and Dpt.

Three categories of immersive selections (Main Competition, New Voices, and Best of Season) are part of Tribeca this year, running from June 10-19. Main Competition projects are eligible for the juried Storyscapes Award, which honors artists who bridge the gap between technology and storytelling. In addition, Tribeca is introducing the New Voices Award for the immersive program, which is awarded to a first- or second-time XR creator that brings new perspectives and artistic languages to immersive storytelling.

For those able to join the Festival in person this year, the immersive exhibition at Spring Studios (50 Varick Street) features a selection of experiences and installations from all three categories. Outdoor immersive installations are also located at various destinations throughout New York City. For at-home audiences with access to VR headsets, immersive experiences can be accessed via a virtual exhibition at The Museum of Other Realities* – a digital extension of the in-person gallery experience, reflecting main themes from this year’s line-up.

“Tribeca Festival’s immersive programming showcases creators using the latest in technology to tell their stories,” said Casey Baltes, Vice President Tribeca Games & Immersive. “The projects we’ve curated push the boundaries of XR in both physical and digital exhibitions for audiences in New York City and around the globe.”

“Each experience presented at Tribeca’s immersive exhibition encompasses a standalone reality, represents a cause, or serves as an embassy to a world where users have agency — a chance to act: bear witness, make a statement, reach out, or simply play,” said Ana Brzezińska, Immersive Curator at Tribeca Festival. “We invite everyone to visit the virtual worlds created by artists, who take us on a meaningful journey of their vision, and tell evocative stories that demand to be told, carried in silence, or inherited through generations.

*The Museum of Other Realities is available for Oculus Rift, HTC Vive, Valve Index and Windows Mixed Reality users. Oculus Quest users can access using Oculus Link or the Virtual Desktop application that connects a wireless headset with a VR-ready PC.

The 2022 Tribeca Festival Immersive Line-up includes:

MAIN COMPETITION

These experiences include the best-in-class World, North American, and United States premieres from leading XR creators and studios, visual and performing artists in competition.

“Kubo Walks the City”

EVOLVER, (United Kingdom, France, United States) – World Premiere. EVOLVER is a mesmerizing virtual reality experience that celebrates our journey through life and death through the inner landscape of the human body. This musical real-time multiplayer experience invites audiences to follow oxygen’s flow deep into our bloodstream and inner branching, exploring the invisible human connection with the outside world. From Executive Producers Edward R. Pressman and Terrence Malick. Featuring Meredith Monk, Jóhann Jóhannsson, Howard Skempton, and music by Jonny Greenwood. 

Project Creators: Marshmallow Laser Feast, Jonny Greenwood, Meredith Monk, Jóhann Jóhannsson, Howard Skempton

Producers: Nicole Shanahan (Bia-Echo), Edward R. Pressman & Sam Pressman (Pressman Film), Terrence Malick (TF Malick Productions), Antoine Cayrol (Atlas V), Mike Jones (Marshmallow Laser Feast)

Intravene, (United Kingdom, Canada) – World Premiere. Intravene is an immersive audio experience that uses binaural 360-degree audio to plunge listeners into the heart of the overdose crisis in Vancouver, Canada. Episode 1, “Benzos,” drops listeners into a safe injection site in Vancouver’s Downtown Eastside, where a user inadvertently injects a hit contaminated with benzos. Intravene is a groundbreaking partnership between immersive and documentary experts, and drug user activists: DARKFIELD, Crackdown, and Brenda Longfellow.

Project Creators: DARKFIELD (David Rosenberg, Glen Neath), Brenda Longfellow & Crackdown

Producers: DARKFIELD (Victoria Eyton), Crackdown

Kubo Walks The City, (France, South Korea) – North American Premiere. Seoul, 1934. Korea is under Japanese occupation. Like “ethno-detectives,” viewers follow in the footsteps of Kubo, a Korean writer, in his urban flânerie. Through caricatures that mock the shortcomings of a Korean society emerging from the poverty and archaisms of the past, explore a city recklessly discovering the modernity and prosperity that come with occupation. Directed by Hayoun Kwon and produced by Innerspace VR.

Project Creator: Hayoun Kwon

Producer:  Innerspace VR

Missing Pictures Ep. 3-5, (France, United Kingdom, Taiwan, Republic of China, Luxembourg, South Korea) – World Premiere. For every movie made, dozens of pictures remain missing forever. Missing Pictures gives directors a chance to tell a story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie is important for them, and why it was never made. Missing Pictures brings to life unmade films by Abel Ferrara, Tsai Ming-Liang, Catherine Hardwicke, Lee Myung-Se, and Naomi Kawase.

Project Creators: Clément Deneux, Joseph Beauregard

Producers: Atlas V, Arte France, BBC, PTS Taiwan, Serendipity Films, Wild Fang Films, Giioii

Mushroom Cloud NYC / RISE, (United States) – World Premiere. Mushroom Cloud NYC / RISE is a site-specific AR experience by artist Nancy Baker Cahill. Witness a mushroom cloud explode over the water and then slowly transform against the sky into a call to collective action against climate change. The NYC edition is custom geolocated for Tribeca with an accompanying original NFT video work entitled, RISE, marking the first NFT created from an XR festival experience.

Project Creator: Nancy Baker Cahill

Producer: Shaking Earth Digital

Please, Believe Me, (United States) – World Premiere. Thirty years ago, Vicki Logan was diagnosed with the recently identified Lyme Disease. When she didn’t recover with antibiotics, one doctor stood by her side while others in the medical establishment turned against Lyme patients who complained of symptoms after receiving standard treatment. This VR piece investigates Vicki’s tragic case and explores why the scientific community stopped believing patients.

Project Creator: Nonny de la Peña

Producers: Kim Cleworth, Dan Brower, Charlie Park

ReachYou, (United States, Kazakhstan, Kyrgyzstan, Colombia) – World Premiere. ReachYou is an augmented reality transmission from the future built for the tenderness of the present. ReachYou comes from a future when Earth is no longer habitable. Each transmission delivers an important message, asking users to contribute their own stories and share their griefs and gratitudes, integrating you into a larger, ever-evolving Human Record.

Project Creators: Katrina Goldsaito, Jonah Goldsaito

Zanzibar: Trouble in Paradise, (United States, Tanzania) – World Premiere. This immersive holographic experience tells the story of two women who gained financial independence in a male-dominated culture through seaweed farming – an ingredient found in everything from ice cream to medicine. When climate change decimated the seaweed, their resilience and strength enabled them to pivot to growing sponges. Then climate change killed the sponges. This film illustrates the impact it has on those who are less likely to have their voices heard.

Project Creators: Ashraki Mussa Machano, Steven-Charles Jaffe

Producer:  Springbok Entertainment

NEW VOICES COMPETITION

These experiences feature 2021/2022 premieres from first- and second-time extended reality (XR) directors in competition.

“Iago: The Green-Eyed Monster”

Emerging Radiance: Honoring The Nikkei Farmers Of Bellevue, (United States) – New York Premiere. Emerging Radiance, directed by Tani Ikeda and illustrated by Michelle Kumata, celebrates the untold stories of Japanese American strawberry farmers who lived in Bellevue from 1920 to 1942. With a hand-painted mural and Spark AR Instagram filters, visitors have the opportunity to meet Toshio Ito, Rae Matsuoka Takekawa, and Mitsuko Hashiguchi, three survivors of the World War II incarceration camps, as they share in their own words their connections to the land before World War II, during incarceration, and post-World War II. Produced by Meta Open Arts.

Project Creators: Tani Ikeda, Michelle Kumata

Producer: Tamar Benzikry (Meta Open Arts)

Iago: The Green Eyed Monster, (United States, Argentina) – World Premiere. This musical prequel to a futuristic take on Shakespeare’s Othello explores the psychology and origin story of the notorious villain Iago reimagined as a woman. Reviewing holographic memories, Iago muses on her schemes in a rock opera villain song that incorporates Shakespeare’s original words into the lyrics. As her song crescendos, Iago is consumed by her jealousy and literally becomes “the green-eyed monster,” destroying everyone and everything in her path to vengeance.

Project Creators:  Mary Chieffo, Josh Nelson Youssef, Camila Marturano, Julian Dorado, Kush Mody

Producers: Juvee Productions,  3Dar, Verizon

LGBTQ + VR Museum, (United Kingdom, Denmark) – North American Premiere. LGBTQ + VR Museum is the world’s first virtual reality museum dedicated to celebrating the stories and artwork of LGBTQ people by preserving queer personal histories. The museum contains 3D scans of touching personal artifacts, from wedding shoes to a teddy bear, chosen by people in the LGBTQ community and accompanied by their stories told in their own words. The in-person version presented at Tribeca is a never-before-seen multiplayer biometric experience controlled by users’ emotions in real-time.

Project Creators: Antonia Forster, Thomas Terkildsen

Producer: Albert Millis

LIMBOTOPIA, (Taiwan, Republic of China) – World Premiere. Illusion, Karma, Apocalypse, Autism. Limbotopia is a surrealist animated VR film from first-time Taiwanese director Hsieh Wen-Yee. Based on the architectural design of Limbotopia, the experience takes you on a dream-like journey through a mysterious city. When a real location in Taiwan disappears due to the environmental crisis, the physical city reemerges on the other side.

Project Creator: Wen-Yee Hsieh, Chun-Lien Cheng

Producer: Wen-Yee Hsieh

Mescaform Hill: The Missing Five, (Canada, US) – World Premiere. When several policemen disappear in an African town, a Road Safety cadet attempts to prove himself by investigating against his superior’s orders but discovers far more than he expected. Mescaform Hill: The Missing Five is a VR animated graphic novel created for the Oculus platform by Edward Madojemu.

Project Creators:  Edward Madojemu, Adam Madojemu

Producer: Ryan Genji Thomas (Meta)

Planet City VR, (China, United States) – International Premiere. Planet City VR is set in a fictional city of 10 billion people⁠ — the entire population of earth⁠. The world has succumbed to global-scale wilderness and surrendered its stolen lands. The city’s creation story, narrated by a young climate activist and one of the city’s first citizens, is an extraordinary tale of tomorrow and an urgent examination of the environmental questions facing us today.

Project Creator: Liam Young

Producers:  Well Played Studios (Elliot Ordower),  HTC Vive Arts

Plastisapiens, (Canada, Israel) – World Premiere. Platisapiens is a surrealist work of eco-fiction, an invitation to explore human influences on the environment, and, inversely, an exploration of how the environment affects human evolution. This speculative, playful, and ironic piece imagines a future where plastic and organic life merge to create a new life form. Viewers will journey back into prehistory to discover that they share the same origins as plastic until they finally mutate into Plastisapiens, and discover the Plastosphere.

Project Creators: Miri Chekhanovich, Édith Jorisch, Dpt.

Producers: NFB (Marie-Pier Gauthier, Isabelle Repelin), Dpt. (Raphaëlle Sleurs),  Lalibela Productions

The Black Movement Library – Movement Portraits, (United States) – World Premiere. The Black Movement Library-Movement Portraits serve as a way to learn about the lives of performers contributing their movement data to the Black Movement Library, taking viewers on a journey through each portrait. What happens when we ritualize the archival process of data collection and invite the community as a witness? Using motion capture and Unreal Engine, performers send their movement data to be translated into visuals in real-time.

Project Creator: LaJuné McMillian

Producers: Brooklyn Public Library, National Endowment for the Arts, Sundance Institute, The Andy Warhol Foundation For Visual Arts, Jerome Foundation, Times Square Arts, Bitforms Gallery and Movement Lab Barnard

This Is Not A Ceremony, (Canada) – New York Premiere. Witness an unforgettable cinematic VR experience, guided with care and kindness by tricksters, matriarchs, and buffalo, as they confront the darker sides of life in Canada while Indigenous. This is Not a Ceremony calls on all who’ve watched to bear witness, and share what they’ve seen and heard—and to never forget.

Project Creator: Ahnahktsipiitaa (Colin Van Loon)

Producer: NFB (Dana Dansereau)

BEST OF SEASON

These selections include the best immersive experiences presented in 2021.

Container (South Africa) – New York Premiere. Positioned at the intersection of virtual reality and installation art, Container takes viewers on an ever-transforming journey, beginning at Clifton Beach, Cape Town, where lie the graves of the 221 enslaved men and women who drowned in shackles when a slave ship sank in 1794. Through a mix of documentary and constructed reality, viewers are taken on an unknown journey into the world of products and people.

Project Creator:  Simon Wood, Meghna Singh

Producers:  Ingrid Kopp, Steven Markovitz, Caitlin Robinson

End of Night, (Denmark) – North American Premiere. 1943. You are sitting in a boat with Josef. He is rowing from Nazi-occupied Denmark to safety in neutral Sweden. As the boat crosses the ocean, the sea gives way to the streets and the people that inhabit his mind. Your journey together becomes a living landscape of the painful recollections from the night of his escape. As dawn draws near, you will witness the trauma of his escape and the grueling choices that those on the run make in order to survive.

Project Creator:  David Adler

Producers: MAKROPOL (Mikkel Skov, Mads Damsbo)

Exhibition A, (United States) – New York Premiere. A love letter to women of color written in virtual reality, Exhibition A showcases talent fromthe POC, immigrant, non-binary, LGBTQ, and Black communities in Portland, Maine to benefit Coded by Young Women of Color (CYWOC). Play as glittering avatars amidst intimate performances, including Veeva Banga’s Afrobeats Dance, “Kiwi Drip” performed by Adrienne Mack-Davis and Felicia Cruz, spoken word from Portland’s Poet Laureate Maya Williams,

“Diamonds” by JanaeSound, and interactive 3D design by Nick Hall/Tripdragon.

Project Creator: Nick Hall, Janay Woodruff

Producers: Yarn Corporation (Sam Mateosian), Janay Woodruff

Glimpse, (Ireland, United Kingdom, France) – North American Premiere. Glimpse is an animated interactive VR experience starring Taron Egerton and Lucy Boynton, directed by Academy Award® winning Writer and Director Benjamin Cleary and VR Creator Michael O’Connor. A highly emotive, visual feast, Glimpse is set in the imaginative mind of a heartbroken panda and illustrator, Herbie, who has recently broken up with his deer girlfriend, Rice. Through Herbie’s art, viewers delve back through the memories of their relationship.

Project Creators: Benjamin Cleary, Michael O’Connor

Producers: Michael O’Connor, Raphael Penasa, Lee Harris

In addition to Festival Laurels, winners of the Main Competition and New Voices awards will receive artwork by a comic illustrator and cover artist from AWA (Artists, Writers & Artisans).

As previously announced, the Tribeca Festival kicks off on June 8 with the world premiere of HALFTIME, a Netflix documentary by director and Tribeca alum Amanda Micheli that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist. Tribeca 2022 closes on June 18 with the world premiere of Loudmouth, a documentary written and directed by Josh Alexander that puts a disruptive spotlight on Reverend Al Sharpton, who has been at the center of the national conversation around race since the late 1980s.Other Festival highlights include the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Rhea Seehorn, Giancarlo Esposito, and Jonathan Banks; the world premiere of Untrapped: The Story of Lil Baby, a feature documentary from director Karam Gill about Lil Baby’s transformational journey from local Atlanta hustler to one of hip-hop’s biggest stars and pop culture’s most important voices for change, followed by a special performance; live world premiere and conversation with the cast and creators of USG Audio’s The End Up, a podcast series about a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp starring Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds; and a special live playthrough of interactive thriller Immortality by renowned video game writer and designer Sam Barlow.

As previously announced, the Tribeca Festival kicks off on June 8 with the world premiere of Halftime, a Netflix documentary by director and Tribeca alum Amanda Micheli that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist. Tribeca 2022 closes on June 18 with the world premiere of Loudmouth, a documentary written and directed by Josh Alexander that puts a disruptive spotlight on Reverend Al Sharpton, who has been at the center of the national conversation around race since the late 1980s.

Other Festival highlights include the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Rhea Seehorn, Giancarlo Esposito, and Jonathan Banks; the world premiere of Untrapped: The Story of Lil Baby, a feature documentary from director Karam Gill about Lil Baby’s transformational journey from local Atlanta hustler to one of hip-hop’s biggest stars and pop culture’s most important voices for change, followed by a special performance; and live world premiere and conversation with the cast and creators of USG Audio’s The End Up, a podcast series about a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp starring Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds.For the latest updates on programming for the 2022 Tribeca Festival, follow @Tribeca on TwitterInstagramFacebookYouTube, and LinkedIn or visit tribecafilm.com/festival and sign up for the official Tribeca newsletter.

Passes and Tickets for the 2022 Tribeca Festival
Festival passes are on sale now at tribecafilm.com/festival/tickets. Sessions, both virtual and in-person, may be reserved at tribecafilm.com/immersive starting May 2, 2022.

Press Credentials
Media interested in covering the festival may submit a press credential application on Tribeca’s press site. The deadline to apply is Friday, May 6, 2022.

About the Tribeca Festival
The Tribeca Festival brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022.

In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is supported by our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, Diageo, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, and Spring Studios New York.

2022 Tribeca Film Festival: games lineup announced

April 26, 2022

“A Plague Tale Requiem”

The 2022 Tribeca Festival™ today unveiled its official Games selections, which celebrate the convergence of games, entertainment, and culture. This year’s lineup features nine titles that demonstrate phenomenal storytelling, art, and innovation through interactive experiences. Each selection will vie for the Tribeca Games Award, which honors an unreleased game for its excellence in art and storytelling through design, artistic mastery, and highly immersive worlds.

The games program features the world premieres of Immortality, an interactive trilogy in which players can explore the legend of Marissa Marcel, a film star who disappeared, through her work; OXENFREE II: Lost Signals, the mind-bending follow up to the critically acclaimed narrative adventure OXENFREE, from Night School Studio; and Cuphead – The Delicious Last Course, another helping of classic Cuphead action with new weapons, magical charms, and more.

“This year’s selections represent the incredible range of how games prove to be a powerful form of storytelling,” said Vice President of Tribeca Games and Immersive Casey Baltes. “We’re continuing to expand how audiences and players interact with games, not only as entertainment but as one of the most impactful cultural mediums.

In 2021, Tribeca Festival featured its first ever Official Selections for Games, including Ember Lab’s visually stunning Kena: Bridge of Spirits; Luis Antonio’s interactive thriller Twelve Minutes, starring James McAvoy, Daisy Ridley, and Willem Dafoe; and the inaugural Tribeca Games Award winner, NORCO, which was praised by critics upon its release in March 2022 for its brilliant, narrative-rich experience.

From June 11-19, the Tribeca Festival once again offers digital experiences for global audiences powered by Parsec. Those able to join the Festival in person this year will be the first to experience a playable Games Gallery featuring demos, art, and artifacts for this year’s selections, hosted at Tribeca Festival’s hub, Spring Studios (50 Varick Street).

Additionally, the Tribeca Games Spotlight, an online showcase of this year’s official selections, features never-before-seen footage and interviews from the creators of the official sections as part of the Summer Game Fest — a free, all-digital global celebration of video games streaming online. Games fans across the globe can tune in on June 10 at 3pm EDT via Tribeca’s website, major streaming platforms, and summergamefest.com.

The 2022 Tribeca Festival Games Official Selections are as follows:

American Arcadia, (Spain, Greece, Brazil) – World Premiere. Welcome to Arcadia! A 70s retro-futuristic metropolis where all of its citizens enjoy a life of luxury and comfort… unaware that they’re being broadcast live 24/7! Arcadia is not an ordinary city, but the most-watched reality show on the planet—where a drop in popularity ratings comes at the highest cost: death. Uncover the truth and escape with your life from a televised utopia in Out of the Blue’s brand new puzzle platformer game.
Developer: Out of the Blue Studios
Publisher: Raw Fury

As Dusk Falls, (United Kingdom) – World Premiere. As Dusk Falls is an original interactive drama from INTERIOR/NIGHT that explores the entangled lives of two families across thirty years in small-town Arizona. Starting with a robbery-gone-wrong, the choices you make will have a powerful impact on the characters’ lives in this story of betrayal, sacrifice, and resilience.
Developer: INTERIOR/NIGHT
Publisher: Xbox Game Studios

The Cub, (Serbia, United States, Poland) – World Premiere. Welcome to Earth after The Great Climate Catastrophe, where only the ultra-rich managed to evacuate to Mars. Decades have passed and those on Mars venture back to Earth to collect specimens like a safari hunt. As the Cub, a mutant orphan immune to the toxins that killed off most of humanity, players will be relentlessly hunted by a science expedition and must run to safety amongst the ruins of Earth. Featuring an original soundtrack program, Radio Nostalgia from Mars.
Developer: Demagog Studio
Publisher: Untold Tales

Cuphead – The Delicious Last Course, (Canada, United States) – World Premiere. Another helping of classic Cuphead action awaits you in Cuphead – The Delicious Last Course. Brothers Cuphead and Mugman are joined by the clever, adventurous Ms. Chalice for a rollicking adventure on a previously undiscovered Inkwell Isle. With the aid of new weapons, magical charms, and Ms. Chalice’s unique abilities, assist the jolly Chef Saltbaker and take on a new cast of fearsome, larger-than-life bosses in Cuphead’s final challenging quest.
Developer and Publisher: Studio MDHR

Immortality, (United States) – World Premiere. Marissa Marcel was a film star. She made three movies. But none of the movies were ever released. And then Marissa Marcel disappeared. After discovering rare footage from her three lost movies — Ambrosio (1968), Minsky (1970) and Two of Everything (1999) — award-winning Game Director Sam Barlow (Her Story, Telling Lies) has assembled an interactive trilogy in which players can explore the legend of Marissa Marcel through her work.
Developer and Publisher: Half Mermaid

OXENFREE II: Lost Signals, (United States) – World Premiere. OXENFREE II: Lost Signals is the mind-bending follow-up to the critically-acclaimed narrative adventure game OXENFREE from Night School Studio. In the small coastal town of Camena, unnaturally occurring electromagnetic waves are causing interference with electrical and radio equipment. Reluctantly, Riley Poverly returns to her hometown to investigate the mystery. What she finds is more than she bargained for.
Developer: Night School Studio
Publisher: Netflix

A Plague Tale: Requiem, (France) – World Premiere. This direct sequel to A Plague Tale: Innocence follows Amicia and her brother Hugo on a heartrending journey into a breathtaking, brutal medieval world twisted by supernatural forces as they discover the cost of saving loved ones in a desperate struggle for survival. Strike from the shadows or unleash hell, and overcome foes and challenges with a variety of weapons, tools, and unearthly powers. A Plague Tale: Requiem will be released in 2022 on consoles and PC.
Developer: Asobo Studio
Publisher: Focus Entertainment

Thirsty Suitors, (United States) – World Premiere. Jala is a young woman returning home for her sister’s wedding and confronting her past. With wildly varied gameplay, Jala will fight skate punks, random suitors, and ultimately, her exes, in the ultimate battle to heal old hurts and ignite new truths, bringing Jala closer to understanding what she wants from her future. Can she learn to love herself and heal the wounds of her past?
Developer: Outerloop Games
Publisher: Annapurna Interactive

Venba, (Canada) – World Premiere. Venba is a narrative cooking game centered around an Indian mom who immigrates to Canada with her family in the 1980s. Players will cook various dishes, restore lost recipes, engage in branching conversations, and explore a story about family, love, loss, and more.
Developer: Visai Games

In addition to Festival Laurels, the winner of the Tribeca Games Award will receive artwork by a comic illustrator and cover artist from AWA (Artists, Writers & Artisans).

As previously announced, the Tribeca Festival kicks off on June 8 with the world premiere of Halftime, a Netflix documentary by director and Tribeca alum Amanda Micheli that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist. Tribeca 2022 closes on June 18 with the world premiere of Loudmouth, a documentary written and directed by Josh Alexander that puts a disruptive spotlight on Reverend Al Sharpton, who has been at the center of the national conversation around race since the late 1980s.

Other Festival highlights include the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Rhea Seehorn, Giancarlo Esposito, and Jonathan Banks; the world premiere of Untrapped: The Story of Lil Baby, a feature documentary from director Karam Gill about Lil Baby’s transformational journey from local Atlanta hustler to one of hip-hop’s biggest stars and pop culture’s most important voices for change, followed by a special performance; and live world premiere and conversation with the cast and creators of USG Audio’s The End Up, a podcast series about a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp starring Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds. For the latest updates on programming for the 2022 Tribeca Festival, follow @Tribeca on TwitterInstagramFacebookYouTube, and LinkedIn or visit tribecafilm.com/festival and sign up for the official Tribeca newsletter.

About the Tribeca Festival
The Tribeca Festival brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022.

In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is supported by our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, Diageo, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, and Spring Studios New York.

Review: ‘You Are Not My Mother,’ starring Hazel Doupe, Carolyn Bracken, Ingrid Craigie and Paul Reid

April 25, 2022

by Carla Hay

Carolyn Bracken in “You Are Not My Mother” (Photo by Cait Fahey/Magnet Releasing)

“You Are Not My Mother”

Directed by Kate Dolan

Culture Representation: Taking place in North Dublin, the horror film “You Are Not My Mother” features a nearly all-white cast of characters (with a few black people) representing the working-class and middle-class.

Culture Clash: After a single mother mysteriously vanishes for a few days, she comes back to her home and seems to be a strange and different person, and her teenage daughter begins to wonder if this mother is possessed by something evil. 

Culture Audience: “You Are Not My Mother” will appeal primarily to people who are interested in predictable but effective horror movies about the supernatural.

Hazel Doupe and Ingrid Craigie in “You Are Not My Mother” (Photo by Cait Fahey/Magnet Releasing)

“You Are Not My Mother” has a mystery that’s very easy to solve, but this well-acted horror movie adeptly maintains suspense in a story influenced by Irish folklore. It’s a solid feature-film directorial debut from Kate Dolan, who also wrote “You Are Not My Mother.” The movie should satisfy people who like supernatural thrillers that can be frightful but don’t wallow in a lot of bloody gore. “You Are Not My Mother” had its world premiere at the 2021 Toronto International Film Festival.

In “You Are Not My Mother” (which takes place in North Dublin), teenager Char Delaney (played by Hazel Doupe) is an introverted loner who attends an all-girls Catholic school. Char is about 15 or 16 years old. Char lives with her single mother Angela Delaney (played by Carolyn Bracken), Angela’s brother Aaron (played by Paul Reid), and Char’s grandmother Rita (played by Ingrid Craigie), who is the mother of Angela and Aaron. Char’s biological father is not seen or mentioned in the move.

“You Are Not My Mother” opens with a scene in the woods, where a baby (played by Dante Woods) is being taken by Rita, who lights a circular fire around the baby. The baby then apparently burns to death. Why would Rita do such a horrible thing? By opening the movie with this scene, writer/director Dolan foreshadows too much of the movie too early. Within the first 10 minutes of the film, it’s obvious that Char’s family has secrets that will eventually be revealed.

Angela has had a long history of depression. In the beginning of the movie, her depression is so debilitating, she is frequently bedridden. One day, Char asks her grandmother Rita for money to take a bus back home from school. Rita says in response: “Why don’t you ask your mother? I’ll get her out of bed.”

Angela manages to get out of bed, and she gives Char a ride to school. However, Angela seems so distracted, Angela almost hits a horse on the road with her car. Meanwhile, Char says, “Mum, we need food in the house. Mum, what’s wrong with you?”

Angela, who seems exhausted and sad, replies: “I’m sorry. I don’t think I can do this anymore.” When Char comes home from school, her mother isn’t there. Later, Char finds her mother’s car abandoned in a field, with a bag of groceries left on the front passenger seat. Angela is nowhere in sight.

Angela’s concerned family eventually contacts the local police to report her missing. Aaron is very concerned that Angela could’ve been kidnapped. A policewoman named Officer Jenny (played Aoife Spratt) has come to the home to take the missing person report. Aaron gets impatient and angry when it’s suggested that, because of Angela’s history of depression, she might have left to go somewhere on her own for a while. Later, Char has a nightmare about finding her mother dead.

When Char’s mother goes missing, it’s just another stress in Char’s life. At school, she is bullied by a group of “mean girls,” led by a snooty brat named Suzanne O’Connell (played by Jordanne Jones), who has her own mother issues that are later revealed in the story. Two of the other girls in this “mean girls” clique are named Kelly (played by Katie White) and Amanda (played by Florence Adebambo), and they later participate with Suzanne in a very cruel prank on Char.

In one of the movie’s classroom scenes, Char is first seen having to interact with Suzanne, who reacts with annoyance when art teacher Ms. Devlin (played Jade Jordan) tells Suzanne to sit next to Char. When the teacher isn’t looking, Suzanne takes some gum out of her mouth and smears the gum on Char’s notes. Char is considered an outcast at this school because she comes from a working-class family who is considered a little strange.

Later in the art class, Char shows Ms. Devlin a drawing that Char made of shadows engulfed in flames. Char tells the teacher that she made the illustration from a dream that she had. It’s a very cliché and obvious clue in the movie.

Another clue is when after Angela goes missing, Rita gives Char a small ball of twigs and leaves, while saying, “I made this for you—for protection.” Why does Char need to be protected? Could it have anything to do with that apparent birthmark on her face?

At any rate, Angela eventually returns to the home after a few days, with no explanation of where she went and why. However, Char and the other family members notice that Angela is not the same person she was before Angela disappeared. This new Angela is more energetic and in better spirits. She even starts doing things like cheerfully making dinner. It’s close to Halloween, so the meal includes pumpkin.

But this new Angela now has a loss of appetite. And this mother, who was once so listless that she could barely get out of bed, is now enthusiastically talking about taking a mother-daughter trip with Char. It’s an idea that Aaron vehemently opposes.

“You Are Not My Mother” is much more of a psychological horror film than a movie that relies on a lot of action-packed jump scares. There are some moments that are meant to induce terror, but a lot of the horror is about what can’t be seen rather than the story being about a killer on the loose. This movie could’ve benefited from more character development, but “You Are Not My Mother” also doesn’t clutter the movie with a lot of unnecessary scenes.

All of the cast members give reasonably authentic performances, but the horror merits of “You Are Not My Mother” are mostly in Bracken’s eerie transformation as Angela. Without this unsettling performance, “You Are Not My Mother” would just be an average or laughable horror movie if mishandled by someone who was miscast in the Angela role. (Fun fact: Writer/director Dolan appears briefly in the movie in the role of a pharmacist.) “You Are Not My Mother” is not a going to be considered a classic horror movie, but it delivers plenty of intrigue for horror fans who are looking for a thriller that explores issues of generational trauma and family burdens.

Magnet Releasing released “You Are Not My Mother” in select U.S. cinemas, on digital and VOD on March 25, 2022.

Review: ‘Petite Maman,’ starring Joséphine Sanz, Gabrielle Sanz, Nina Meurisse and Stéphane Varupenne

April 23, 2022

by Carla Hay

Joséphine Sanz and Gabrielle Sanz in “Petite Maman” (Photo courtesy of Lilies Films/Neon)

“Petite Maman”

Directed by Céline Sciamma

French with subtitles

Culture Representation: Taking place in an unnamed city in France, the dramatic film “Petite Maman” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: An 8-year-old girl meets another girl of the same age who is eerily similar to her.

Culture Audience: “Petite Maman” will appeal primarily to people are interested in unique movies about families and time travel.

Nina Meurisse and Joséphine Sanz in “Petite Maman” (Photo courtesy of Lilies Films/Neon)

The very memorable drama “Petite Maman” takes an insightful and endearing look at parent-child relationships and how personalities are formed in childhood. It also depicts the rhetorical question: “What would you do if you met one of your parents as a child but didn’t know it right away?” The results are fascinating, charming and often sentimental without being mawkish.

Written and directed by Céline Sciamma, “Petite Maman” clocks in at a brisk 72 minutes, which is really all the time needed for this engaging cinematic story to be told. “Petite Maman” (which takes place in an unnamed city in France) made the rounds at several top film festivals in 2021, including the Telluride Film Festival, Toronto International Film Festival and the New York Film Festival. Sciamma has made a name for herself as a filmmaker who does female-centric movies about authentic personal relationships. “Petite Maman” (which translates to “Little Mother” in English) is Sciamma’s first movie where the central female characters are pre-teen girls.

“Petite Maman” is a movie with a relatively small cast of characters (less than 10 people have speaking lines), because it’s a fairly simple story that’s rich in detailing the meaningful experiences of an 8-year-old girl who meets her mother when her mother was also 8 years old. There’s no elaborate science-fiction explanation for this time-traveling experience. Observant viewers will figure out the mystery fairly early on in the story, but it’s a delight to watch the unwitting girl discover what her mother was like at her own age.

In the beginning of “Petite Maman,” 8-year-old Nelly (played by Joséphine Sanz) is visiting a nursing home where her maternal grandmother, who was a widow, has passed away. Nelly asks her unnamed mother (played by Nina Meurisse) if she can keep a stick that used to be owned by Nelly’s grandmother. Nelly’s mother says yes.

Nelly then accompanies her parents to the house where Nelly’s grandmother used to live. It’s also the childhood home of Nelly’s mother. The house (which is located in a wooded area) is going to be sold, and most of it is already packed up, except for some essential furniture, most of it wrapped up in sheets. The kitchen is the only room in the house that looks like it hasn’t been packed up or wrapped yet in the process of the house getting a new owner.

Nelly’s mother and Nelly’s father (played by Stéphane Varupenne) have stopped by the house for some final moving arrangements. They decide to stay in the house for a few days. Nelly sleeps in the bedroom that her mother had a child. When Nelly’s mother tucks her in before Nelly goes to sleep, she mentions to Nelly that when she was a child, she didn’t like being in the room at night.

It’s soon revealed that although Nelly is a fairly obedient child, she’s more of a “daddy’s girl.” Nelly is more likely to get into disagreements with her mother, who has an unspoken air of sadness and regret about her. Nelly’s parents also don’t like to talk about their childhoods very much. Nelly’s father explains that the only thing they like to discuss about their childhoods is the Christmas presents that they received when they were kids.

But one thing that Nelly knows about her mother’s childhood is that her mother had a special hut that she built in the woods. This hut was her place where she could go when she wanted private time to herself. One of the first things that Nelly asks her mother about when they arrive at the house is: “Mom, where was your hut? Can you show me? I want to make one.”

Nelly’s mother seems too distracted with grief to grant this request. However, one day, Nelly is out walking in the woods when she sees a girl who looks exactly like her making a hut out of tree branches. The girl, whose name is Marion (played by Gabrielle Sanz, the identical twin of Joséphine Sanz), asks Nelly for help in building the hut. Nelly notices that Marion has the same name as Nelly’s mother.

It’s the beginning of a friendship where Nelly develops a deeper understanding of Marion and her childhood. Viewers find out that Marion grew up with a mother who was very overprotective. In her childhood, Marion had an operation to correct a problem that she might have inherited from her mother. Marion’s mother (played by Margot Abascal), who walks with a cane, is shown in a scene where she’s scolding Marion for playing outside because it’s against doctor’s orders.

“Petite Maman” has a plot twist revealed at the end of the movie that is emotionally poignant, especially for people who feel that this story of friendship within a family is relatable on some level. Sciamma’s telling of this story is at times whimsical but always genuinely observant of the nuances in how people relate to each other as children and as adults. The casting of identical twins Joséphine Sanz and Gabrielle Sanz (who are both very good in their respective roles as Nelly and Marion) is an inspired choice because it makes viewers pay more attention to how to tell these girls apart, in terms of their personalities.

“Petite Maman” also touches on the issue of what friendship can mean between a parent and a child. Parents of underage children often have to show or tell their kids, “I’m your parent, not your friend,” in order to set discipline boundaries. What “Petite Maman” does in a special and creative way is show that every parent’s inner child is never really lost but becomes part of who that person is as a parent and a possible friend.

Neon released “Petite Maman” in select U.S. cinemas on April 22, 2022, with an expansion to more U.S. cinemas on May 6, 2022. The movie was released in several European countries and in South Korea in 2021.

2022 Tribeca Film Festival: TV, Audio Storytelling and Now programming announced

April 21, 2022

“The Captain” (Photo by Anthony B. Geathers)

The following is a press release from the Tribeca Film Festival:

The 2022 Tribeca Festival™ today announced its lineup of world premieres of new and returning television, original scripted audio, and original indie episodic series. The Festival, which takes place June 8-19, will present a selection of highly anticipated programs at the forefront of innovative storytelling.

Tribeca brings the festival experience to the world of television by serving as a platform for fans to experience premieres of current and future favorites, along with live conversations featuring casts and creators. This year’s TV lineup features nine series premieres and two first looks at returning favorites, including ESPN’s The Captain, about iconic New York Yankee Derek Jeter; Amazon Prime Video’s A League of Their Own, inspired by the 1992 film, with Abbi Jacobson; Hulu’s Victoria’s Secret: Angels and Demons, a provocative exposé of Victoria’s Secret; HBO Max’s Menudo: Forever Young, a behind-the-scenes look at the multi-generational pop sensation; FX’s The Bear, an exhilarating ride through the culinary world; TIME Studios for A&E Network’s Right to Offend, a docuseries about the intrepid Black comedians who used laughter to push social boundaries and cultural change; EPIX’s Bridge and Tunnel, which follows a group of Long Islanders pursuing their Manhattan dreams, written and directed by Edward Burns; and the mid-season premiere of the final season of AMC’s Better Call Saul with Bob Odenkirk, Giancarlo Esposito, and Jonathan Banks.

Tribeca’s NOW program unearths compelling independent episodic work, including short and long-form pilots and series. The 2022 NOW showcase focuses on six standout selections, including The Green Veil, a scripted anthology series about oppression in America from John Leguizamo and Aram Rappaport, and Cannabis Buyers Club, a dive into the little-known story of the legalization of marijuana in the U.S. and also the most important LGBTQ+ rights struggle of the 20th century from Kip Andersen and Chris O’Connell.

“This year’s TV selections and NOW indie episodic pilots are an impressive array of both short- and long-form narrative and documentary projects. Our diverse network selections will excite everyone from sports fans to TV buffs awaiting premieres of highly anticipated new series to sci-fi animation lovers,” said Tribeca Senior Programmer Liza Domnitz. “The Festival will also give audiences an early glimpse at – what will hopefully become – their next favorite series, with indie projects that include collaborators like John Leguizamo, Kathryn Bigelow, John Early, and Philip Glass.

For the first time, Tribeca’s audio storytelling program is dedicated entirely to scripted content, with a focus on excellence in writing and performance. Tribeca is especially proud to celebrate Pride and Juneteeth by bringing stories from emerging and established Queer and Black creators to the forefront of the scripted audio space.

Tribeca is honored to welcome back Audible as the exclusive Audio Entertainment sponsor of the Festival. Audible celebrates the Tribeca creative community and showcases bold creators who are developing innovative, cinematic audio entertainment. This year, Audible will be debuting their latest dynamic Audible Original as they host the world premiere of The Big Lie. Produced in collaboration with Fresh Produce Media, The Big Lie tells the incredible true story behind Salt of the Earth, a 1950s pro-union film that suffered a conspiracy of active sabotage efforts from the U.S. government, the Hollywood studio system, and Howard Hughes during the “Red Scare.” The series is created by John Mankiewicz and stars Jon Hamm, John Slattery, Ana de la Reguera, Kate Mara, and a full cast.

Included in the audio storytelling lineup is the live world premiere of USG Audio’s The End Up, which stars Himesh Patel, Marianne Jean-Baptiste, Merritt Wever, and John Reynolds. The event will be followed by a conversation with the cast and creators, hosted by Scott Adsit. The series takes place in a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp. Two best friends wrestle with their goodbye after one enrolls in the program and the other grows skeptical. Tribeca will also host the world premiere of Radiotopia Presents: My Mother Made Me with creator Jason Reynolds, interviewed by Radiolab’s Jad Abumrad, and the world premiere of the supernatural audio drama Mirage Diner with creator Lauren Shippen interviewed by Welcome to Nightvale’s Dylan Marron.

The Festival will present a live conversation with the cast and creators of Spotify’s Gay Pride & Prejudice, an upcoming scripted romantic comedy series from Gimlet, with Jesse Tyler Ferguson, Maulik Pancholy, Blake Lee, Vella Lovell, Justin Mikita, and Zackary Grady interviewed by Mimi O’Donnell. There will also be a live taping of Radiotopia’s Oprahdemics with creators Kellie Carter Jackson and Leah Wright Riguer with special guest The New York Times’s Wesley Morris, as well as a narrative journalism event on Connie Walker’s Stolen with guest Ryan McMahon.

“Tribeca’s audio storytelling program celebrates audio-forward and sound-rich stories from all scripted genres – from audio drama and scripted comedy, to documentary and narrative journalism,” said Tribeca Curator of Audio Storytelling Davy Gardner. “We’re committed to podcasting’s roots as a creator-first and democratized space where marginalized creators can share stories and find their audiences.”

The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano; Artistic Director Frédéric Boyer; VP of Filmmaker Relations & Shorts Programming Sharon Badal and Head Shorts Programmer Ben Thompson; Senior Programmers Liza Domnitz and Lucy Mukerjee; Programmers José F. Rodriguez and Karen McMullen; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezinska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and program advisor Paula Weinstein, along with a team of associate programmers.

The full TV, Audio Storytelling, and NOW lineups are detailed below. For updates on the full slate of programming for the 2022 Tribeca Festival, follow @Tribeca and #Tribeca2022 on Twitter, Instagram, Facebook, YouTube, LinkedIn, and at tribecafilm.com/festival.

TV

“Bridge & Tunnel” (Photo courtesy of Epix)

The Bear (Hulu) – New Series World Premiere. The Bear follows Carmen “Carmy” Berzatto, a young chef from the fine dining world, who comes home to Chicago to run his family sandwich shop after a heartbreaking death. It’s a comedy about food, family, the insanity of the grind, the beauty of a sense of urgency, and the steep slippery downsides. As Carmy fights to transform the restaurant and himself, his rough-around-the-edges kitchen crew ultimately reveal themselves as his chosen family. Executive produced by Christopher Storer, Joanna Calo, Hiro Murai, Nate Matteson, Josh Senior. With Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Abby Elliott, Lionel Boyce, and Liza Colón-Zayas; Edwin Lee Gibson and Matty Matheson in recurring roles.

  • After the Screening: A conversation with Creator, Co-Showrunner, Executive Producer, Writer, and Director Christopher Storer; Co-Showrunner, Executive Producer, Writer, and Director Joanna Calo; and cast members Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce and Matty Matheson.

Better Call Saul (AMC)  – Mid-season World Premiere. Better Call Saul’s final season concludes the complicated journey and transformation of its compromised hero, Jimmy McGill (Bob Odenkirk), into criminal lawyer Saul Goodman. From the cartel to the courthouse, from Albuquerque to Omaha, season six tracks Jimmy, Saul, and Gene as well as Jimmy’s complex relationship with Kim (Rhea Seehorn), who is in the midst of her own existential crisis. Meanwhile, Mike (Jonathan Banks), Gus (Giancarlo Esposito), Nacho (Michael Mando), and Lalo (Tony Dalton) are locked into a game of cat and mouse with mortal stakes. Executive Produced by Vince Gilligan, Peter Gould, Mark Johnson, Melissa Bernstein, Gordon Smith, Alison Tatlock, Tom Schnauz, Michael Morris, and Diane Mercer.

  • After the Screening: A conversation with Showrunner, Executive Producer, and Co-Creator Peter Gould, Bob Odenkirk, and Rhea Seehorn. 

Bridge and Tunnel (EPIX)  – Season 2 World Premiere. Written, directed, and produced by Edward Burns, this dramedy series set in 1980 revolves around a group of college grads setting out to pursue their dreams in Manhattan while still clinging to the familiarity of their working-class Long Island hometown.

  • After the Screening: A conversation with Writer, Director, and Executive Producer Edward Burns, plus cast members Sam Vartholomeos, Caitlin Stasey, Gigi Zumbado, JanLuis Castellanos, Isabella Farrell, and Brian Muller. Moderated by Mike Vaccaro, lead sports columnist for the New York Post.

The Captain (ESPN) – New Series World Premiere. The Captain is a compelling narrative revealing the man behind the icon – Derek Jeter. Amidst a time of great change in New York City, Derek Jeter’s arrival to the New York Yankees returned a struggling franchise to its traditional perch amongst baseball’s elite. Viewers will be enthralled by the professional and personal triumphs and challenges that not only created a dynasty, but a legend. Executive Produced by Mike Tollin and Spike Lee.

  • After the Screening: A conversation with series subject and New York Yankee legend, Derek Jeter, and director Randy Wilkins.

The End is Nye (Peacock) – News Series World Premiere. The End is Nye sends Bill Nye into the most epic global disasters imaginable – both natural and unnatural – and then demystifies them using science to show how we can survive, mitigate, and even prevent them. Executive Produced by Seth MacFarlane, Erica Huggins, Brannon Braga, Bill Nye. With Bill Nye.

  • After the Screening: A conversation with host, science educator, executive producer Bill Nye; director, executive producer, showrunner Brannon Braga; and executive producer and Fuzzy Door President Erica Huggins.

A League of Their Own (Prime Video) – New Series World Premiere.  A League of Their Own evokes the joyful spirit of Penny Marshall’s beloved classic, while widening the lens to tell the story of an entire generation of women who dreamed of playing professional baseball. The show takes a deeper look at race and sexuality, following the journey of a whole new ensemble of characters as they carve their own paths towards the field, both in the League and outside of it. Executive Produced by Abbi Jacobson, Will Graham, Hailey Wierengo, Desta Tedros Reff, Jamie Babbit. With Abbi Jacobson, Chanté Adams, D’Arcy Carden, Gbemisola Ikumelo, Roberta Colindrez, Kelly McCormack, and Priscilla Delgado, Molly Ephraim, Kate Berlant, Melanie Field.

  • After the Screening: A conversation with co-creator and executive producer Abbi Jacobson “Carson,” co-creator and executive producer Will Graham, executive producer Desta Tedros Reff, D’Arcy Carden “Greta,” Chanté Adams “Max,” and Gbemisola Ikumelo “Clance.”

Menudo: Forever Young (HBO Max) – New Series World Premiere. The rise and fall of the most iconic Latin American boy band in history, bringing viewers into the world of the popular teen idols’ global tours, magazine covers, ‘80s outfits, and screaming fangirls. But the four-part documentary reveals that behind the glitz and glamour was a web of abuse and exploitation at the hands of the band’s manager, Edgardo Diaz. Through revealing interviews with ex-Menudo members, the film examines how this extravagant facade was disguising serious wrongdoings by Diaz. Executive produced by Cristina Costantini and Jeff Plunkett of Muck Media, Alex Fumero of Trojan Horse, Bryn Mooser and Justin Lacob of XTR, and Angel Manuel Soto; co-executive producers are Maura Anderson and Kristofer Rios.

  • After the Screening: A conversation with directors Angel Manuel Soto and Kris Rios, with members of Menudo.

Pantheon (AMC)  – New Series World Premiere. Bullied teen Maddie receives mysterious help from someone online revealed to be her deceased father, whose consciousness has been uploaded. He is the first “Uploaded Intelligence,” beginning a global conspiracy. Executive Produced by Craig Silverstein, Chris Prynoski, Shannon Prynoski, Antonio Canobbio, Ben Kalina, Juno Lee. With Daniel Dae Kim, Katie Chang, Paul Dano, Rosemarie DeWitt, Aaron Eckhart, Taylor Schilling, Ron Livingston, Chris Diamantopoulos, Raza Jaffrey, Scoot McNairy.

  • After the Screening: A conversation with creator, showrunner, and executive producer Craig Silverstein.

Right to Offend: The Black Comedy Revolution (TIME Studios for A&E Network) – New Series World Premiere. The two-part documentary event Right to Offend: The Black Comedy Revolution explores the progression of Black comedy and the comedians who have used pointed humor to expose, challenge, and ridicule society’s injustices and to articulate the Black experience in America. The series examines Black comedy through a unique lens, tracing the evolution and social awakening of the courageous comedians who dared to push against the constraints of their time and spoke truth to power. Executive produced by Alexa Conway, Mario Diaz, Loren Hammonds, Lance Nichols, Ian Orefice, Jessica Sherif, Brad Abramson, and Elaine Frontain Bryant. Co-directed by Mario Diaz and Jessica Sherif.

  • After the Screening: A conversation with comedian Alonzo Bodden, Dick Gregory’s son Christian Gregory, Richard Pryor’s son Richard Pryor Jr, co-director and executive producer Mario Diaz, co-director and executive producer Jessica Sherif, and executive producer Loren Hammonds.

Supreme Team (SHOWTIME)  – World Premiere. Directed by Nasir “Nas” Jones and Peter J Scalettar, Supreme Team is a three-part limited docuseries that takes an in-depth look at the notorious Queens, New York gang, and tells the real story from the mouths of its two leaders and family members, Kenneth “Supreme” McGriff and Gerald “Prince” Miller.

  • After the Screening: A conversation with co-directors Nasir (Nas) Jones and Peter J. Scalettar.

Victoria’s Secret: Angels and Demons (Hulu)  – New Series World Premiere. Investigated with journalistic rigor, Matt Tyrnauer directs this searing and provocative exposé of the Victoria’s Secret brand as well as their then CEO, the larger-than-life, enigmatic billionaire, Les Wexner. Truth is not what it seems; as the underworld of fashion, the billionaire class, and Jeffrey Epstein are revealed to all be inextricably intertwined with the fall of this legendary brand. Directed by Matt Tyrnauer. Produced by  Corey Reeser.

  • After the Screening: A conversation with director Matt Tyrnauer.

NOW (Indie Episodic) 

NOW Showcase A (Narrative)

“The Green Veil”

The Green Veil, Created by Aram Rappaport (United States) – Episodes 1 & 2 (World Premiere). The story follows Gordon Rogers (John Leguizamo), a federal agent working tirelessly to complete a secretive mission while holding his fracturing family together in picture-perfect post-WWII suburbia.

My Trip to Spain, Created by Theda Hammel (United States) – Episode 1 (New York Premiere). Two friends (Theda Hammel and John Early) reunite one year into the pandemic, as one prepares to get a surgery she hopes will change her life for the better.

Teddy Bear, Created by Sara Shelton, Jed Cohen (United States) – Episode 1 (World Premiere). Best friends Pete and Annie reluctantly head out to a bar to attend a friend’s show. Despite promising each other they’ll leave early, their nights both take a turn when they meet two strangers.

Off Fairfax, Created by Rell Battle and Directed by Erica Eng (United States) – Episode 1 (World Premiere). Quinn Park, still reeling from the sudden disappearance of his Black activist mother 20 years earlier, has dedicated his life to solving local mysteries in his LA neighborhood. Quinn is accompanied by his two best friends to a diner on Fairfax Avenue on his latest hunt to solve the murder of a popular musician, which, as by a twist of fate, ends up shedding light on Quinn’s mother’s disappearance.

NOW Showcase B (Documentary)

“Cannabis Buyers Club”

Cannabis Buyers Club, Created by Kip Andersen and Chris O’Connell (United States) – Episode 1 (World Premiere). Cannabis Buyers Club is the little-known story of the legalization of marijuana in the U.S. and also the most important LGBTQ+ rights struggle of the 20th century. It’s about how a neglected group suffering during the peak of the AIDS pandemic was led by renegade pot dealer, Dennis Peron. Peron fought to legalize medical marijuana and change public opinion in the face of oppression by the police and the right-wing California government.

Year Zero, Created by Zein Zubi, Billy Silva, Pol Rodriguez, Guille Isa (Chile, India, Peru, United States) – Episode 1 (World Premiere). From Executive Producer, Academy Award-winner Kathryn Bigelow comes Year Zero, a three-part documentary series that takes us back to early 2020 and explores the individual experiences of wildly different people around the world and the unexpected connections between them. Filmed by ten filmmakers in ten countries, the series shines a light on the resiliency of the human spirit, all the while, moving the conversation forward by asking, “Where do we go from here?”

AUDIO STORYTELLING

“Oprahdemics”

Special Events:

USG Audio’s The End Up – World Premiere. This cinematic audio series by USG Audio, executive produced by award-winning producer Sam Esmail, takes place in a tilted near-future where terminal cancer patients who wish to end their suffering must attend a weeklong boot camp. Two best friends wrestle with their goodbye after one enrolls in the program and the other grows skeptical. The series stars Himesh Patel, John Reynolds, Merritt Wever, and Marianne Jean-Baptiste.

  • After the Premiere: A conversation with the cast and creators, moderated by Scott Adsit.

Radiotopia Presents: My Mother Made Me – World Premiere. My Mother Made Me explores the relationship between New York Times best-selling author Jason Reynolds and his mother, Isabell. Through informal interviews and intimate conversation, they wax poetic about what Reynolds was taught as a child as it pertains to ideas around ambition, family, and purpose and how those teachings have evolved with the changing tides of their lives. It’s a love letter to their connection, an homage to parent-child friendship, and a testament to how growth can be perpetual, despite age or circumstance. Reynolds is also the recipient of a Newbery Honor, an NAACP Image Award, and multiple Coretta Scott King honors.

  • After the Premiere: This special event will feature Reynolds in conversation with “Radiolab” creator and audio trailblazer Jad Abumrad.

Lauren Shippen’s Mirage Diner – World Premiere. Join us for the world premiere of this supernatural audio dramedy about a diner that travels through time and space in twentieth-century America. The series follows the workers of the diner and a revolving cast of patrons against the sonic backdrop of surrealist Americana and will be the first weekly fiction show from Atypical Artists.

  • After the Premiere: A discussion with Lauren Shippen and cast moderated by Welcome to Nightvale’s Dylan Marron.

Spotify – Gimlet’s Stolen –  In season one, Connie examined the unsolved disappearance of Jermain Charlo, a 23-year-old Indigenous mother from the Confederated Salish and Kootenai Tribes, who went missing in Missoula, Montana, in 2018. In season two of Stolen, Connie Walker digs deep into her own past to uncover how her family’s story fits into one of Canada’s darkest chapters: the Indigenous residential school system.

  • After the Episode Sneak Peek: A conversation with Connie Walker moderated by Ryan McMahon.

Live from Tribeca: Radiotopia’s Oprahdemics – Kellie Carter Jackson and Leah Wright Riguer are historians, best friends, and Oprah obsessives. In this podcast, they go through their picks for the most iconic episodes from the decades-long run of the Oprah Winfrey Show. From book club controversies to diet fads and wars with the meat industry, conversations about police brutality and sexuality… and of course big giveaways…

  • This is a live taping with hosts Kellie Carter Jackson and Leah Wright Riguer with special guest The New York Times’s Wesley Morris.

Audible’s The Big Lie – World Premiere. The Big Lie tells the incredible true story behind Salt of the Earth, a 1950s pro-union film that suffered a conspiracy of active sabotage efforts from the US Government, the Hollywood Studio System, and Howard Hughes during the “Red Scare.” Created by John Mankiewicz and produced in collaboration with Fresh Produce. Starring Jon Hamm, Ana de la Reguera, John Slattery, Kate Mara, and a full cast.

  • After the Premiere: A conversation with John Mankiewicz and select cast members.

Spotify’s Gay Pride & Prejudice – A modern podcast adaptation of Jane Austen’s Pride and Prejudice from Gimlet.  When same-sex marriage finally becomes legal, Bennet struggles to find belonging when his chosen family suddenly begins coupling off and settling down.

  • After the Episode: A presentation and discussion with creators Jesse Tyler Ferguson, Vella Lovell, Maulik Pancholy, Blake Lee, Ronald Peet, Justin Mitika, moderated by Mimi O’Donnell. 

Official Selections:

The following titles will be eligible for the juried Audio Storytelling Fiction Award and the Audio Storytelling Narrative Nonfiction Award. The juries will include:

Nonfiction
Jane Coaston (The New York Times’s “The Argument”)
Manoush Zomorodi (NPR’s “TED Radio Hour”)
Anna Sale (WNYC’s “Death, Sex & Money”)
Rachel Ghiazza (Audible)
Josh Dean (Campside Media’s “Hooked”)

Fiction
Avery Truffelman (“99% Invisible”)
Roxanne Gay (“The Roxanne Gay Agenda”)
Lily Percy Ruiz (Gimlet)

NARRATIVE NONFICTION

Divine Intervention – Fifty years ago, a ragtag band of radical nuns in combat boots, wild-haired priests, and their madcap friends swiftly became accomplished cat-burglars in an effort to sabotage the war in Vietnam. They picked locks, scaled walls, and broke into federal buildings, pilfering the files of the young men about to be sent into combat. Many went to jail, some betrayed their friends, and others fell in love. Two were my parents.

I Was Never There – Take a trip into the countercultural movements swirling through West Virginia in the 1970s and 80s. In this series from Wonder Media Network, Jamie Zelermyer and her mother Karen investigate the shocking disappearance of their friend Marsha “Mudd” Ferber and explore Marsha’s evolution from suburban housewife to back-to-the-land hippie to the drug-dealing bar owner. Now the same age as Marsha when she vanished, Jamie reflects on her nontraditional upbringing and Karen examines the parallels between her choices and Marsha’s.

Mother Country Radicals – Zayd Ayers Dohrn was born underground – when his family was on the run from the FBI. Now Zayd takes us back to the 1970s when his parents and their friends declared war on the United States government. They brawled with riot cops on the streets of Chicago, bombed the Pentagon, broke comrades out of prison, and teamed up with Black militant groups to rob banks, fight racism – and help build a revolution. A new podcast from Crooked Media, produced in partnership with Audacy.

Radiotopia Presents: My Mother Made Me – My Mother Made Me explores the relationship between writer Jason Reynolds and his mother, Isabell. Through informal interviews and intimate conversations, they wax poetic about what Reynolds was taught as a child as it pertains to ideas around ambition, family, and purpose and how those teachings have evolved with the changing tides of their lives. It’s a love letter to their connection, an homage to parent-child friendship, and a testament to how growth can be perpetual, despite age or circumstance.

Once Removed – When he learns about a gay relative who was lost to AIDS in 1993, playwright Paul Kruse goes on a journey of discovery about the Queer history of his family. Initially for live performance, Once Removed was produced by Hatch Arts Collective under the direction of Adil Mansoor with sound design, editing, and original music by Aaron Landgraf.

FICTION 

“Conference Call”

Modes of Thought in Anterran Literature –  Second Year Classics, C667, Professor [REDACTED]. This course discusses the Anterran Civilization, examining the available evidence regarding all aspects of the culture. The recent archeological discovery uncovered at the bottom of the Pacific Ocean will be explored to provide opportunities for analysis of the writings of the earliest human society, [REDACTED] years older than previously known to exist. Topics include literature, religion, and philosophy. Wednesdays, Room 014 Brussels Hall, Harbridge University.

Conference Call – Join Julie Burke as she partners with eccentric entrepreneurs “The Toade Bros.” Julie patiently helps the Toades desperately pitch their half-baked ideas to a string of bewildered investors. Pouring over hours of cringe-worthy recorded phone calls from this oddball tech company, our (fake) investigative podcaster, Charlotte Dunn, delivers a story of incompetence, fraud, and betrayal. After the Toades manage to do the unthinkable, Julie is left with no choice but to take action.

Day By Day – Cody, a bitcoin trader with an opioid habit, is mandated to a therapeutic community after a suicide attempt. He joins a motley group of addicts in recovery; Vaughn, a crackhead bank robber, Ricky, who wants to give up hustling, Art, a country-western lesbian who identifies as one of the men, and Felipe, a salsa musician and heroin addict who is having an affair with the counselor’s secretary. Gabrielle, the controlling counselor who oversees the group, is hiding secrets of her own.

The Hollowed Out – Jesse, a journalist, returns to her hometown to investigate an accident involving a friend. While she’s there, she exposes double lives, fractured relationships, and rumors of missing kids with special powers. A chemical spill in a neighborhood called ‘The Hollowed Out’ has caused strange illnesses amongst the survivors. Children have been taken for testing and never returned home.  Jesse learns that the missing kids from the Hollowed Out can move things with their minds. The chemicals company wants to weaponize their gifts. Jesse works to bring the kids home.

Vapor Trail – At a chance meeting at the farmers market, two strangers find a connection rooted in their own unspeakable tragedies. The evening they spend together becomes an encounter they can’t forget. A meditation on grief and finding connection in surprising places.

In addition to Festival Laurels, winners in the Narrative Fiction and Nonfiction categories will receive artwork by a comic illustrator and cover artist from AWA (Artists, Writers & Artisans).

About the Tribeca Festival
The Tribeca Festival brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, VR, gaming, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022.

In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is supported by our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, Diageo, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, and Spring Studios New York.

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