2023 Tony Awards: ‘Some Like It Hot’ is the top nominee

May 2, 2023

Tony Awards logo

The following is a press release from the American Theatre Wing and the Broadway League:

Nominations in 26 competitive categories for the American Theatre Wing’s 76th Annual Antoinette Perry “Tony” Awards® were announced by star of Funny Girl Lea Michele and 2022 Tony Award-winner Myles Frost. The nominees were selected by an independent committee of 40 theatre professionals appointed by the Tony Awards Administration Committee. The 2023 Tony Awards are presented by The Broadway League and the American Theatre Wing. (The list of nominations follows.)

Marking 76 years of excellence on Broadway, The Tony Awards, hosted by Ariana DeBose, will air LIVE on Sunday, June 11, 2023 from the historic United Palace in Washington Heights, in New York City from 8:00-11:00 PM, ET/5:00-8:00 PM, PT on the CBS Television Network, and streaming live and on demand on Paramount+.

CBS and Pluto TV will present The Tony Awards: Act One, a pre-show of live, exclusive content leading into the 76th Annual Tony Awards. The celebration commences at 6:30-8:00 PM, ET/3:30-5:00 PM PT, on Pluto TV, the leading free streaming television service (FAST). Viewers can access the show on their smart TV, streaming device, mobile app or online by going to Pluto TV and clicking on the “Pluto TV Celebrity” channel (no payment, registration or sign-in required).

Legitimate theatrical productions opening in any of the 41 eligible Broadway theatres during the current season may be considered for Tony nominations. The 2022/2023 eligibility season began Thursday, May 5, 2022 and ended Thursday, April 27, 2023. The Tony Awards will be voted in 26 competitive categories by 769 designated Tony voters within the theatre community.

As previously announced, the 2023 Tony Honors for Excellence in the Theatre will be presented to Lisa Dawn Cave, Victoria Bailey and Robert Fried. The Isabelle Stevenson Tony Award will be presented to Jerry Mitchell.

The 2022-2023 Tony Award Nominating Committee consists of: Warren Adams, Becky Ann Baker, Pun Bandhu, Brenda Braxton, Christopher Burney, Eisa Davis, Carmel Dean, Jerry Dixon, Dionne Figgins, Kamilah Forbes, Scott Frankel, M L Geiger, Jessica Hagedorn, Raja Feather Kelly, John Kilgore, Kathy Landau, Andrea Lauer, Zhailon Levingston, Jose Llana, Priscilla Lopez, John Mauceri, Jess McLeod, James C. Nicola, Antoinette Nwandu, Peter Parnell, Ralph B. Peña, Nancy Piccione, Bill Rauch, Daphne Rubin-Vega, Susan Sampliner, Dick Scanlan, Kimberly Senior, Rachel Sheinkin, Devario Simmons, Natasha Sinha, Michael Stotts, Reginald Van Lee, Michael Benjamin Washington and Ben Wexler.

The Antoinette Perry “Tony” Awards are bestowed annually on theatre professionals for distinguished achievement. The Tony is one of the most coveted awards in the entertainment industry and the annual telecast is considered one of the most prestigious programs on television.

The 2023 American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing. At The Broadway League, Lauren Reid is Chair and Charlotte St. Martin is President. At the American Theater Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO.

For the CBS broadcast, Ricky Kirshner and Glenn Weiss/White Cherry Entertainment are Executive Producers. Weiss also serves as Director.

A limited number of tickets for the 2023 Tony Awards are currently on sale at: TonyAwards.com/tickets.

Sponsors for The Tony Awards include: Carnegie Mellon University – the first-ever, exclusive higher education partner; City National Bank – official bank of The Tony Awards; Playbill; Sofitel New York – the official hotel of The Tony Awards; United Airlines – the official airline of The Tony Awards for over 20 years; Zacapa Rum – the official partner of the Tony Awards; Baccarat – the official partner of the Tony Awards; and Ketel One Vodka – the official partner of the Tony Awards.

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Nominations for the 2023 American Theatre Wing’s Tony Awards®
Presented by The American Theatre Wing and The Broadway League

Best Book of a Musical

& Juliet

David West Read

Kimberly Akimbo

David Lindsay-Abaire

New York, New York

David Thompson & Sharon Washington

Shucked

Robert Horn

Some Like It Hot

Matthew López & Amber Ruffin

Best Original Score (Music and/or Lyrics) Written for the Theatre

Almost Famous

Music: Tom Kitt
Lyrics: Cameron Crowe & Tom Kitt

Kimberly Akimbo

Music: Jeanine Tesori
Lyrics: David Lindsay-Abaire

KPOP

Music & Lyrics: Helen Park & Max Vernon

Shucked

Music and Lyrics: Brandy Clark & Shane McAnally

Some Like It Hot

Music: Marc Shaiman
Lyrics: Scott Wittman & Marc Shaiman

Best Performance by an Actor in a Leading Role in a Play

Yahya Abdul-Mateen II, Suzan-Lori Parks’ Topdog/Underdog
Corey Hawkins, Suzan-Lori Parks’ Topdog/Underdog
Sean Hayes, Good Night, Oscar
Stephen McKinley Henderson, Between Riverside and Crazy
Wendell Pierce, Arthur Miller’s Death of a Salesman

Best Performance by an Actress in a Leading Role in a Play

Jessica Chastain, A Doll’s House
Jodie Comer, Prima Facie
Jessica Hecht, Summer, 1976
Audra McDonald, Ohio State Murders

Best Performance by an Actor in a Leading Role in a Musical

Christian Borle, Some Like It Hot
J. Harrison Ghee, Some Like It Hot
Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street
Brian d’Arcy James, Into the Woods
Ben Platt, Parade
Colton Ryan, New York, New York

Best Performance by an Actress in a Leading Role in a Musical

Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street
Sara Bareilles, Into the Woods
Victoria Clark, Kimberly Akimbo
Lorna Courtney, & Juliet
Micaela Diamond, Parade

Best Performance by an Actor in a Featured Role in a Play

Jordan E. Cooper, Ain’t No Mo’
Samuel L. Jackson, August Wilson’s The Piano Lesson
Arian Moayed, A Doll’s House
Brandon Uranowitz, Leopoldstadt
David Zayas, Cost of Living

Best Performance by an Actress in a Featured Role in a Play

Nikki Crawford, Fat Ham
Crystal Lucas-Perry, Ain’t No Mo’
Miriam Silverman, The Sign in Sidney Brustein’s Window
Katy Sullivan, Cost of Living
Kara Young, Cost of Living

Best Performance by an Actor in a Featured Role in a Musical

Kevin Cahoon, Shucked
Justin Cooley, Kimberly Akimbo
Kevin Del Aguila, Some Like It Hot
Jordan Donica, Lerner & Loewe’s Camelot
Alex Newell, Shucked

Best Performance by an Actress in a Featured Role in a Musical

Julia Lester, Into the Woods
Ruthie Ann Miles, Sweeney Todd: The Demon Barber of Fleet Street
Bonnie Milligan, Kimberly Akimbo
NaTasha Yvette Williams, Some Like It Hot
Betsy Wolfe, & Juliet

Best Scenic Design of a Play

Miriam Buether, Prima Facie
Tim Hatley & Andrzej Goulding, Life of Pi
Rachel Hauck, Good Night, Oscar
Richard Hudson, Leopoldstadt
Dane Laffrey & Lucy Mackinnon, A Christmas Carol

Best Scenic Design of a Musical

Beowulf Boritt, New York, New York
Mimi Lien, Sweeney Todd: The Demon Barber of Fleet Street
Michael Yeargan & 59 Productions, Lerner & Loewe’s Camelot
Scott Pask, Shucked
Scott Pask, Some Like It Hot

Best Costume Design of a Play

Tim Hatley, Nick Barnes & Finn Caldwell, Life of Pi
Dominique Fawn Hill, Fat Ham
Brigitte Reiffenstuel, Leopoldstadt
Emilio Sosa, Ain’t No Mo’
Emilio Sosa, Good Night, Oscar

Best Costume Design of a Musical

Gregg Barnes, Some Like It Hot
Susan Hilferty, Parade
Jennifer Moeller, Lerner & Loewe’s Camelot
Clint Ramos & Sophia Choi, KPOP
Paloma Young, & Juliet
Donna Zakowska, New York, New York

Best Lighting Design of a Play

Neil Austin, Leopoldstadt
Natasha Chivers, Prima Facie
Jon Clark, A Doll’s House
Bradley King, Fat Ham
Tim Lutkin, Life of Pi
Jen Schriever, Arthur Miller’s Death of a Salesman
Ben Stanton, A Christmas Carol

Best Lighting Design of a Musical

Ken Billington, New York, New York
Lap Chi Chu, Lerner & Loewe’s Camelot
Heather Gilbert, Parade
Howard Hudson, & Juliet
Natasha Katz, Some Like It Hot
Natasha Katz, Sweeney Todd: The Demon Barber of Fleet Street

Best Sound Design of a Play

Jonathan Deans & Taylor Williams, Ain’t No Mo’
Carolyn Downing, Life of Pi
Joshua D. Reid, A Christmas Carol
Ben & Max Ringham, A Doll’s House
Ben & Max Ringham, Prima Facie

Best Sound Design of a Musical

Kai Harada, New York, New York
John Shivers, Shucked
Scott Lehrer & Alex Neumann, Into the Woods
Gareth Owen, & Juliet
Nevin Steinberg, Sweeney Todd: The Demon Barber of Fleet Street

Best Direction of a Play

Saheem Ali, Fat Ham
Jo Bonney, Cost of Living
Jamie Lloyd, A Doll’s House
Patrick Marber, Leopoldstadt
Stevie Walker-Webb, Ain’t No Mo’
Max Webster, Life of Pi

Best Direction of a Musical

Michael Arden, Parade
Lear deBessonet, Into the Woods
Casey Nicholaw, Some Like It Hot
Jack O’Brien, Shucked
Jessica Stone, Kimberly Akimbo

Best Choreography

Steven Hoggett, Sweeney Todd: The Demon Barber of Fleet Street
Casey Nicholaw, Some Like It Hot
Susan Stroman, New York, New York
Jennifer Weber, & Juliet
Jennifer Weber, KPOP

Best Orchestrations

Bill Sherman and Dominic Fallacaro, & Juliet
John Clancy, Kimberly Akimbo
Jason Howland, Shucked
Charlie Rosen & Bryan Carter, Some Like It Hot
Daryl Waters & Sam Davis, New York, New York

Best Play

Ain’t No Mo’

Author: Jordan E. Cooper
Producers: Lee Daniels, BET: Black Entertainment Television, Len Blavatnik, Ron Burkle, Aryeh B. Bourkoff, 59th & Prairie Entertainment, RuPaul Charles, I’ll Have Another Productions, Jeremy O. Harris, Lena Waithe, Tucker Tooley Entertainment, CJ Uzomah, Ann Cox, Gina Purlia, Bob Yari, Marvin Peart, Colleen Camp, Marvet Britto, Jeremy Green, Sue Wagner, John Johnson, Jillian Robbins, The Public Theater, Oskar Eustis, Patrick Willingham, Mandy Hackett

Between Riverside and Crazy

Author: Stephen Adly Guirgis
Producers: Second Stage Theater, Carole Rothman, Khady Kamara, Atlantic Theater Company

Cost of Living

Author: Martyna Majok
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove, Williamstown Theatre Festival

Fat Ham

Author: James Ijames
Producers: No Guarantees, Public Theater Productions, Rashad V. Chambers, National Black Theatre, Tim Levy, Bards on Broadway, Bob Boyett, Ghostbuster Productions, James Ijames, Cynthia Stroum, Audible, Adam Cohen, Blake Devillier, Firemused Productions/JamRock Productions, The Forstalls, Iconic Vizion/Corey Brunish, John Gore Organization, Midnight Theatricals, David Miner, Robin Gorman Newman/PickleStar Theatricals, Marc Platt, Play on Shakespeare, The Wilma Theater, Colman Domingo, Cynthia Erivo, Andy Jones, Dylan Pager, Roundabout Theatre Company, Oskar Eustis, Patrick Willingham, Mandy Hackett, Sade Lythcott, Jonathan McCrory

Leopoldstadt

Author: Tom Stoppard
Producers: Sonia Friedman Productions, Roy Furman, Lorne Michaels, Stephanie P. McClelland, Gavin Kalin, Delman Sloan, Eilene Davidson, Brad Edgerton, Patrick Gracey, Hunter Arnold, Burnt Umber Productions, Cue to Cue Productions, The Factor Gavin Partnership, Harris Rubin Productions, Robert Nederlander, Jr., No Guarantees, Sandy Robertson, Iris Smith, Jamie deRoy/Catherine Adler, Dodge Hall Productions/Waverly Productions, Richardo Hornos/Robert Tichio, Heni Koenigsberg/Wendy Federman, Thomas S. Perakos/Stephanie Kramer, Brian Spector/Judith Seinfeld, Richard Winkler/Alan Shorr

Best Musical

& Juliet

Producers: Max Martin & Tim Headington, Theresa Steele Page, Jenny Petersson, Martin Dodd, Eva Price, Lukasz Gottwald, 42nd.club, Independent Presenters Network, Jack Lane, Library Company, Shellback, Shivhans Pictures, Sing Out, Louise!, Kim Szarzynski, Taylor/Riegler, Tenenbaum/Keyes, Barry Weiss, John Gore Organization

Kimberly Akimbo

Producers: David Stone, Atlantic Theater Company, James L. Nederlander, LaChanze, John Gore, Patrick Catullo, Aaron Glick

New York, New York

Producers: Sonia Friedman Productions, Tom Kirdahy, Wendy Federman & Heni Koenigsberg, Crossroads Live, Playing Field, Stephanie P. McClelland, Ambassador Theatre Group, Waiting in the Wings Productions, Colin Callender, Gilbert and DeeDee Garcia/Sue Vaccaro, Peter May, Rileyfan, Silverhopkins+/Hunter Johnson, Jay Alix & Una Jackman, Eric Passmore, Thomas Swayne, Elliott Cornelious/SunnySpot Productions, Santino DeAngelo/Cynthia Tong, Craig Balsam, Richard Batchelder, Concord Theatricals, Creative Partners Productions, Marguerite Hoffman, Jessica R. Jenen, John Gore Organization, MGM on Stage, James L. Nederlander, Linda B. Rubin, Seriff Productions, Shivhans Pictures, 42nd.club/Beards on Broadway, AGL Productions/Brad Blume, Hunter Arnold/Red Mountain Theatre, Cue to Cue Productions/Roy Putrino, Jamie deRoy/Janet and Marvin Rosen, Edgewood/Silva Theatrical Group, Dale Franzen/Henry R. Muñoz, III, Deborah Green/Chris Mattsson, Branden Grimmett/DMQR Productions, Christen James/Gregory Carroll, NETworks Presentations/Lamar Richardson, Ron Simons/Adam Zell, Chartoff-Winkler

Shucked

Producers: Mike Bosner, Jason Owen, AEG Presents/Jay Marciano/Gary Gersh, Jeffrey A. Sine, Richard Smith, Silvia Schmid, Bob Boyett, Jeremiah J. Harris, James L. Nederlander, EST/Emily Tisch, Sony Music Entertaiment, DudaAllen, David W. Busch, Karen Fairchild, HoriPro Inc., Gordon-Helfner, John Gore Organization, Madison Wells Live, S&Co., Terry Schnuck, Jimi Westbrook, ZKM Media

Some Like It Hot

Producers: The Shubert Organization, Neil Meron, MGM on Stage, Roy Furman, Robert Greenblatt, James L. Nederlander, Kenny Leon, Hunter Arnold, John Gore Organization, The Dalgleish Library Company Group, Sheboygan Conservatory Partners, Ambassador Theatre Group Productions, Bob Boyett, Cue to Cue Productions, Janet and Marvin Rosen, The Araca Group, Concord Theatricals, Marc Howard, Independent Presenters Network, Juanita Jordan, Jujamcyn Theaters, Henry R. Muñoz, III, Ostar, Mariah Carey, D.S. Moynihan

Best Revival of a Play

August Wilson’s The Piano Lesson

Producers: Brian Anthony Moreland, Sonia Friedman, Tom Kirdahy, Kandi Burruss & Todd Tucker, Hunter Arnold, Playing Field, The Factor Gavin Partnership, FBK Productions/42nd.club, Jay Alix & Una Jackman, Creative Partners Productions, Harris Rubin Productions, Marguerite Steed Hoffman, Alia Jones-Harvey, Mark Gordon Pictures, Stephanie McClelland, Moore Delman, James L. Nederlander, Seriff Productions, The Shubert Organization, Salman Al-Rashid/Jamie deRoy, Brad Blume/Cliff Hopkins, Jean Doumanian /Fakston Productions, Edgewood/DMQR Productions, Jay & Cindy Gutterman/Caiola Productions, Van Kaplan/Lu-Shawn Thompson, Erik A. King/Finewomen Productions, Marc David Levine/William Frisbie, Syrinda Paige/Kevin Ryan & Diane Scott Carter, Silva Theatrical Group/Tilted, Thomas Swayne/Cynthia J. Tong, Constanza Romero-Wilson

A Doll’s House

New Version by: Amy Herzog
Producers: Ambassador Theatre Group Productions, Gavin Kalin Productions, Wessex Grove, Julie Boardman, Kate Cannova, Bob Boyett, Hunter Arnold, Creative Partners Productions, Eilene Davidson Productions, GGRS, Kater Gordon, Louise L. Gund, Los Angeles Media Fund, Stephanie P. McClelland, Tilted, Jessica Chastain, Caitlin Clements/Francesca Moody Productions, Caiola Productions/Amanda Lee, Ted & Richard Liebowitz/Joeyen-Waldorf Squeri, Richard & Cecilia Attias/Thomas S. Barnes, OHenry Theatre Nerd Productions/Runyonland MMP, The Jamie Lloyd Company

The Sign in Sidney Brustein’s Window

Producers: Seaview, Sue Wagner, John Johnson, Phil Kenny, Audible, Sony Music Masterworks, Jillian Robbins, Jeremy O. Harris, Larry Hirschhorn and Ricardo Hornos, Shields Smedes Stern Ltd., Kevin Ryan, The Shubert Organization, Willette and Manny Klausner, Marco Santarelli, Be Forward Productions, Concord Theatricals, Creative Partners Productions, Invisible Wall Productions, Salman and Moudhy Al-Rashid, TodayTix Group, Ido Gal, HarrisDonnelly, Sally Cade Holmes, Stella LaRue, LAMF Protozoa, Kati Meister and John Sorkin, Meredith Lynsey Schade, Catherine Schreiber, Dennis Trunfio, MCM Studios, 42nd.club, BAMM Productions, CarterMackTaylorWilliam, HB2M Productions, HK-Undivided Productions, MAJIKK Theatricals, Tanker Kollev Productions, Douglas Denoff, OHenry Productions, Plate Spinner Productions, Runyonland Productions, Mad Gene Media, Scrap Paper Pictures, Joi Gresham, BAM, Gina Duncan, David Binder, Elizabeth Moreau

Suzan-Lori Parks’ Topdog/Underdog

Producers: David Stone, LaChanze, Rashad V. Chambers, Marc Platt, Debra Martin Chase, The Shubert Organization

Best Revival of a Musical

Into the Woods

Producers: Jujamcyn Theaters, Jordan Roth, New York City Center, Daryl Roth, Hunter Arnold, Concord Theatricals, Nicole Eisenberg, Jessica R. Jenen, Michael Cassel Group, Kevin Ryan, ShowTown Productions, Armstrong, Gold & Ross, Nicole Kastrinos

Lerner & Loewe’s Camelot

Producers: Lincoln Center Theater, André Bishop, Adam Siegel, Naomi Grabel

Parade

Producers: Seaview, Ambassador Theatre Group Productions, Alex Levy, Kevin Ryan, Eric & Marsi Gardiner, Interscope & Immersive Records, Erica Lynn Schwartz, Creative Partners Productions, Marcia Goldberg, John Gore Organization, Cynthia Stroum, Tom Tuft, Benjamin Simpson, Nathan Vernon, Brian & Nick Ginsberg, Ruth & Stephen Hendel, Roth-Manella Productions, Chutzpah Productions, 42nd.club, Ahava 72 Productions, The Andryc Brothers, The Array, At Rise Creative, Caiola Jenen Productions, Coles Achilles, deRoy Brunish Productions, Fakston Productions, Federman Batchelder, Level Forward, Pencil Factory Productions, Renard Lynch, Robin Merrie, Rubin Stuckelman, Runyonland Sussman, Kristin Caskey, Mike Isaacson, Bee Carrozzini, New York City Center

Sweeney Todd: The Demon Barber of Fleet Street

Producers: Jeffrey Seller, Bob Boyett, Diana DiMenna & Plate Spinner Productions/Aaron Glick, Eastern Standard Time, Roy Furman, Thomas Kail, Jim Kierstead/Benjamin Leon IV, TourDForce Theatrical, Maggie Brohn, Andy Jones

Tony Nominations by Production

Some Like It Hot – 13

& Juliet – 9

New York, New York – 9

Shucked – 9

Kimberly Akimbo – 8

Sweeney Todd: The Demon Barber of Fleet Street – 8

Ain’t No Mo’ – 6

A Doll’s House – 6

Into the Woods – 6

Leopoldstadt – 6

Parade – 6

Cost of Living – 5

Fat Ham – 5

Lerner & Loewe’s Camelot – 5

Life of Pi – 5

Prima Facie – 4

A Christmas Carol – 3

Good Night, Oscar – 3

KPOP – 3

Suzan-Lori Parks’ Topdog/Underdog – 3

Arthur Miller’s Death of a Salesman – 2

August Wilson’s The Piano Lesson – 2

Between Riverside and Crazy – 2

The Sign in Sidney Brustein’s Window – 2

Almost Famous – 1

Ohio State Murders – 1

Summer, 1976 – 1

2023 Met Gala: Event Photos and Videos

May 1, 2023

The 54th annual Costume Institute Gala, also known as the Met Gala, took place at the Metropolitan Museum of Art in New York City on May 1, 2023. The event’s theme in 2023 was “Karl Lagerfeld: A Line of Beauty,” so guests were encouraged to dress in fashion inspired by fashion designer Karl Lagerfeld, who died in 2019, at the age fo 85. The Met Gala is an annual fundraising gala for the benefit of the Metropolitan Museum of Art’s Costume Institute. This year, the Met Gala was co-chaired by actress/screenwriter Michaela Coel, actress Penélope Cruz, tennis star Roger Federer, singer Dua Lipa and Vogue editor-in-chief Anna Wintour. Here are photo and video highlights from the event.

2023 Tribeca Festival: features and shorts lineup announced

April 25, 2023

Henry Golding and Lily Rabe in “Downtown Owl”

The following is a press release from the Tribeca Festival:

The 2023 Tribeca Festival, presented by OKX, today announced its lineup of feature narrative, documentary, and animated films. This year’s Festival, which takes place June 7-18, showcases the best emerging talent from across the globe alongside established household names.

The 2023 features program includes 109 feature films from 127 filmmakers across 36 countries. The lineup includes 93 world premieres, one international premiere, eight North American premieres, one U.S. premiere, and six New York premieres. There are 43 first-time directors and 29 directors returning to Tribeca with their latest projects. 41% (45) of all feature films are directed by women and, for the first time, more than half of competition feature films are directed by women at 68% (19). Additionally, 36% (39) of feature films are directed by BIPOC filmmakers, including two indigenous filmmakers.

This year’s Festival also includes a notable number of films directed by actors: world premiere of First Time Female Director by Chelsea Peretti; world premiere of Maggie Moore(s) by John Slattery; world premiere of Bucky F*cking Dent by David Duchovny; world premiere of Downtown Owl by Lily Rabe and Hamish Linklater; world premiere of Eric LaRue by Michael Shannon; world premiere of Fresh Kills by Jennifer Esposito; North American premiere of The Listener by Steve Buscemi; New York premiere of Shortcomings by Randall Park; and more.

There are 53 documentary features across all categories including the world premiere of Marvel’s first original documentary Stan Lee by Tribeca alumnus David Gelb as well as world premieres from Academy Award winners and nominees including Julie CohenWaad al-KateabMorgan NevilleSam PollardRob Epstein, and Jeffrey Friedman. As an activist festival rooted in the foundational belief that art can inspire change, the 2023 Tribeca Festival showcases numerous documentary features that shine a light on the ongoing war in Ukraine as well as the silencing of artists in Iran.

For the third year, the Tribeca Festival continues its commemoration of Juneteenth through the “Expressions of Black Freedom” program, sponsored by Indeed, which includes a festival-wide celebration of the 50th anniversary of hip-hop, the world premiere of All Up in the Biz, a documentary about New York hip-hop legend Biz Markie, and the world premiere of Cinnamon, directed by Bryian Keith Montgomery Jr. and starring Damon Wayans and Pam Grier

“The Tribeca Festival is a celebratory event that honors artists and uplifts attendees, and this year is no exception with a lineup of 109 feature films from 127 filmmakers. Over the course of 12 thrilling days, we invite audiences to explore the magic of storytelling as a powerful tool of democracy, activism, and social awareness,” says Tribeca Festival Co-Founder and Tribeca Enterprises CEO Jane Rosenthal. “We’re also proud to highlight the 50th anniversary of hip-hop as a culture-defining genre that originated right here in New York City, with insightful world premieres about beat-boxing legends and live performances from today’s top-charting musicians.”

The 2023 “Spotlight+” category includes a series of live events that bring the film experience to life following each premiere. A performance from She Is The Music artists, curated by Alicia Keys, will follow the world premiere of UnchartedSara Bareilles will give a special performance following the world premiere of Waitress, the Musical – Live on Broadway!; the one and only Gloria Gaynor will perform following the world premiere of Gloria Gaynor: I Will Survive; a conversation with Peabody Award-winning news anchor Dan Rather and director Frank Marshall will follow the world premiere of RatherGogol Bordello will perform following the world premiere of Scream of My Blood: A Gogol Bordello Story; a songwriting masterclass by Indigo Girls will follow the New York premiere of It’s Only Life After All; a musical Q&A with Marc Rebillet will follow the world premiere of Songs About Fucking; and a group of dancehall legends will perform following the world premiere of Bad Like Brooklyn Dancehall.

“This year’s slate of films is a joyful celebration of everything we love about the big screen experience,” says Tribeca Festival Director and VP of Programming Cara Cusuamno. “We are bringing to New York eye-popping 3D films and rousing music docs, white-knuckle thrillers and knee-slapping comedies, independent edge and old Hollywood glamour. And as potent as the work is on-screen, we are equally excited to ‘plus up’ the moviegoing experience off-screen with an incredible lineup of live experiences in ‘Spotlight+’.”

The Tribeca Festival is expanding its “Midnight” offering with the introduction of “Escape from Tribeca,” a psychotronic sidebar presenting genre movies from across the globe, including the world premiere of India’s big-budgeted visual feast Adipurush, directed by Om Raut and starring Prabhas and Kriti Sanon. Festival-goers are also invited to a 50th anniversary screening of the global phenomenon Enter the Dragon followed by a talk with co-star Angela Mao and producer Andre Morgan about superstar performer and choreographer Bruce Lee and the production of the film.

The Tribeca Festival is also proud to announce that the second annual Human/Nature Award, a prize established to amplify a film that best exemplifies solution-oriented environmental storytelling, goes to Common Ground, directed by Rebecca and Josh Tickell, and will world premiere at the Festival. 

Once again, movie fans can enjoy selections from the Tribeca Festival from the comfort of their homes immediately following the Festival, from June 19 through July 2, via the “Tribeca at Home” online platform: Tribecafilm.com.

The full feature film lineup is detailed below. For more updates on programming follow @Tribeca and #Tribeca2023 on TwitterInstagramFacebook, and LinkedIn, and to purchase passes and ticket packages for the 2023 Tribeca Festival, go to tribecafilm.com/festival.

Misty Copeland (center) in “Flower”

The 2023 shorts lineup includes 76 total selections – 62 shorts in competition, eight music videos, and six special screening shorts – from 91 filmmakers across 25 countries. The lineup includes 48 world premieres, three international premieres, two North American premieres, one U.S. premiere, and 22 New York premieres. Six directors return to Tribeca with their latest projects.

With a record-breaking 8,096 total submissions, the lineup’s four categories – narrative shorts, documentary shorts, animated shorts, and music videos – are curated across thematic programs highlighting love, family relationships, LGBTQ+ stories, “Expressions of Black Freedom,” Latin America, resilience, and more.

Premieres include Last Call, which is about a desperate mother needing to reconnect with her son, directed by Harry Holland and starring brother Tom HollandShadow Brother SundayAlden Ehrenreich‘s directorial debut as he plays a down-on-his-luck musician returning home on the day of his younger brother’s movie premiere to steal his computer and sell it to the paparazzi; For people in trouble, a relationship drama set against the backdrop of impending societal collapse, directed and written by Alex Lawther and starring Emma D’Arcy; the documentary short To My Father, an intimate glimpse into Troy Kotsur‘s relationship with his father and how his tragic accident shaped his life and career, directed by Sean SchiavolinMy Eyes Are Up Here, a romantic comedy starring Jillian Mercado as an international fashion model whose mission to get the morning after pill is complicated by her disability and clumsy but considerate partner, directed by Nathan Morris; and more.

Additionally, the world premiere of Misty Copeland‘s Flower will screen as a special event at Spring Studios. Flower is a poignant take on community, belonging, and intergenerational equity, directed by Lauren Finerman, in which Copeland stars and serves as producer. This film also marks the return to performance for Copeland after a multi-year hiatus. Following the screening, the premiere event will feature live performances by Copeland’s co-star Babatunji Johnson and a group of NYC hip-hop dancers choreographed by the legendary choreographers Rich + Tone Talauega, who also worked on the film, and a Q&A with Copeland and the filmmakers.

“From a staggering record number of 8,096 shorts submissions, we are thrilled to present an incredible range of storytelling in short films and music videos from around the globe,” said Ben Thompson, VP of Shorts Programming at Tribeca Festival. “Thoughtfully curated into 12 distinct programs, my co-programmer VP of Programming Sharon Badal and I hope there is something for everyone. From free-flowing music and dance to crazy late-night comedy, join us for an unforgettable journey through short films.”

Recipients of the Tribeca Festival awards for Best Narrative Short, Best Documentary Short, and Best Animated Short qualify for consideration in the Academy Awards’ Short Films category, provided the film complies with Academy rules. Since the Tribeca Festival’s founding in 2001, 36 short films that have premiered at the Tribeca Festival have been nominated for an Academy Award and 11 have gone on to win, establishing the Festival as a launching pad for emerging filmmakers. Tribeca also grants a Student Visionary Award to a rising filmmaker with emerging talent and potential.

The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano, Artistic Director Frédéric Boyer; VP of Programming Sharon Badal and VP of Shorts Programming Ben Thompson; Senior Programmers Liza Domnitz, Faridah Gbadamosi, and Jarod Neece; Programmers José F. Rodriguez, Casey Baron, Jason Gutierrez, and Jonathan Penner; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezińska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and Chief Content Officer Paula Weinstein, along with a team of associate programmers.

The short film lineup is detailed below. For the latest updates on programming follow @Tribeca and #Tribeca2023 on TwitterInstagramFacebook, and LinkedIn. Purchase passes and ticket packages for the 2023 Tribeca Festival at tribecafilm.com/festival.

The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano, Artistic Director Frédéric Boyer; VP of Programming Sharon Badal and VP of Shorts Programming Ben Thompson; Senior Programmers Liza Domnitz, Faridah Gbadamosi, and Jarod Neece; Programmers José F. Rodriguez, Casey Baron, Jason Gutierrez, and Jonathan Penner; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezińska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and Chief Content Officer Paula Weinstein, along with a team of associate programmers.

ABOUT THE TRIBECA FESTIVAL

The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and XR. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, 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. The annual Tribeca Festival will celebrate its 22nd year from June 7–18, 2023 in New York City.

In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.

ABOUT THE 2023 TRIBECA FESTIVAL PARTNERS

The 2023 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Black Women on Boards, CHANEL, City National Bank, Diageo, Expensify, Indeed, NYC Mayor’s Office of Media and Entertainment, National CineMedia, ServiceNow, Spring Studios New York, The Wall Street Journal, Tubi, and Variety.

2023 TRIBECA FESTIVAL FEATURE FILM SELECTION

U.S. NARRATIVE COMPETITION

Discover breakout independent voices from around the country as these extraordinary world premieres compete for honors in Tribeca’s U.S. Narrative Competition.

Gayle Rankin in “Bad Things” (Photo by Grant Greenberg)

Bad Things, (United States) – World Premiere. A weekend getaway for a few girlfriends at a snowy resort becomes a psychological tailspin and bloody nightmare. Long-deceased guests and the space itself come to life in this haunting thriller. Directed and written by Stewart Thorndike. Produced by Lizzie Shapiro, Lexi Tannenholtz. With Gayle Rankin, Hari Nef, Annabelle Dexter-Jones, Rad Pereira, Jared Abrahamson, Molly Ringwald.

Cypher, (United States) – World Premiere. Documenting the astronomical rise of rapper Tierra Whack, director Chris Mourkabel captures the weird and sinister side of fame. This riveting and enigmatic pseudo-documentary will have viewers questioning everything they see. Directed and written by Chris Moukarbel. Produced by Tony Hernandez, Lilly Burns, John Hodges, Tierra Whack, Sanjay M. Sharma, Roya Rastegar, Anthony Seyler, Chris Moukarbel.

The Graduates, (United States) – World Premiere. After a tragedy, a group of friends faces an unsettling senior year. Feelings of loss, anger, fear, and aimlessness abound in the community at the center of director Hannah Peterson’s debut feature film. Directed and written by Hannah Peterson. Produced by Josh Peters, Saba Zerehi, Taylor Shung, Jessamine Burgum. With Mina Sundwall, Alex Hibbert, Yasmeen Fletcher, Ewan Manley, John Cho, Maria Dizzia, Kelly O’Sullivan.

Lost Soulz, (United States) – World Premiere. Set to a lo-fi, genre-bending soundtrack, Lost Soulz follows a young rapper as he leaves behind his surrogate family and sets out on an expedition across Texas, contemplating new and old friendships. Directed and written by Katherine Propper. Produced by Andres Figueredo Thomson, Juan Carlos Figueredo Thomson, Katherine Propper. With Sauve Sidle, Syanda Stillwell, Micro TDH, Krystall Poppin, Alexander Brackney, Malachi Mabson.

Mountains, (United States) – World Premiere. Xavier works in demolition and dreams of buying a bigger house for his family, while his adult son, caught between two cultures, struggles to find a place for himself. What results is a loving portrait of the Haitian community in Miami. Directed by Monica Sorelle, written by Monica Sorelle, Robert Colom. Produced by Robert Colom. With Atibon Nazaire, Sheila Anozier, Chris Renois.

The Secret Art of Human Flight, (United States) – World Premiere. While mourning the death of his wife and fending off an ambitious detective who thinks he killed her, Ben encounters a man who claims that he can teach him to fly. Directed by H.P. Mendoza, written by Jesse Orenshein. Produced by Grant Rosenmeyer, Tina Carbone, Benjamin Wiessner. With Grant Rosenmeyer, Paul Raci, Lucy DeVito, Nican Robinson, Reina Hardesty, Maggie Grace, Sendhil Ramamurthy.

Smoking Tigers, (United States) – World Premiere. Set in early-2000s SoCal, Smoking Tigers follows a Korean American girl as she navigates derision and growing tensions while balancing the duality of her low-income family and wealthy, elite high school environment. Directed and written by Shelly Yo. Produced by Guo Guo. With Ji Young Yoo, Jung Joon Ho, Abin Shim, Erin Yoo.

Somewhere Quiet, (United States) – World Premiere. In the ominous and tense Somewhere Quiet, a woman readjusts to normalcy after surviving a traumatic kidnapping — but her grounded sense of reality soon starts to deteriorate when she travels with her husband to his wealthy family’s isolated compound. Directed and written by Olivia West Lloyd. Produced by Taylor Ava Shung, Emma Hannaway, Eamon Downey. With Jennifer Kim, Kentucker Audley, Marin Ireland.

INTERNATIONAL NARRATIVE COMPETITION

The New-York based Festival breaks its geographical boundaries with the International Narrative Competition, welcoming filmmakers from abroad to join a global platform for contemporary world cinema.

Scarlet Camila in “Boca Chica” (Photo by Micaela Cajahuaringa)

Boca Chica, (Dominican Republic) – World Premiere. A lively coming-of-age drama, Boca Chica follows twelve-year-old Desi in her pursuit of becoming a famous singer. As Desi braces to leave her hometown, she’s met with deep-seated secrets that have long tormented her family and their coastal Dominican community. Directed by Gabriella A. Moses, written by Marité Ugás, Mariana Rondón. Produced by Sterlyn Ramirez. With Scarlet Camilo, Jean Cruz, Lia Chapman, Xiomara Rodriguez.

Dead Girls Dancing, (Germany, France) – World Premiere. On a road trip across Italy, four recent high school graduates stumble upon an abandoned village. Away from the expectations of parents and teachers, they experiment with the limits of their newfound freedom. Directed and written by Anna Roller. Produced by Katharina Kolleczek, Lea Neu, Laure Parleani, Bérénice Vincent. With Luna Jordan, Noemi Liv Nicolaisen, Katharina Stark, Sara Giannelli. 

The Future, (Israel) – World Premiere. Nurit, a criminal profiler, is recruited by Israel’s secret service to interrogate a young Palestinian woman who assassinated a government minister. Over the course of their meetings, Nurit realizes some uncomfortable truths. Directed and written by Noam Kaplan. Produced by Yoav Roeh, Aurit Zamir. With Reymonde Amsellem, Samar Qupty, Dar Zuzovsky, Aviva Ger, Salwa Nakkara. 

Je’vida, (Finland) – World Premiere. When embittered Sámi elder Je’vida returns to her childhood home to ready it for sale, she is flooded with the memories of a life shaped by deep systemic racism and the unyielding love of her grandfather, leading to a life-changing epiphany. Directed by Katja Gauriloff, written by Katja Gauriloff, Niillas Holmberg. Produced by Joonas Berghäll, Satu Majava, Anna Nuru. With Agafia Niemenmaa, Heidi Juliana Gauriloff, Sanna-Kaisa Palo, Seidi Haarla, Erkki Gauriloff, Matleena Fofonoff.

Marinette, (France) – International Premiere. Marinette tells the story of pioneering French female soccer star Marinette Pichon. Filmmaker Virginie Verrier’s biopic traces the athlete’s battle to earn her homeland’s respect after achieving success in the United States. Directed and written by Virginie Verrier. Produced by Virginie Verrier. With Garance Mariller, Emilie Dequenne, Alban Lenoir, Fred Testot, Sylvie Testud. 

Richelieu, (Canada, France, Guatemala) – World Premiere. After a bad breakup, Ariane moves home and gets a job as an interpreter for seasonal migrant workers. Witnessing workplace abuses, Ariane must decide how far she is willing to go to speak out against injustice. Directed and written by Pier-Philippe Chevigny. Produced by Geneviève Gosselin-G., Miléna Poylo, Gilles Sacuto, Alice Bloch. With Ariane Castellanos, Marc-André Grondin, Nelson Coronado, Marvin Coroy, Maria Mercedes Coroy. 

Silver Haze, (Netherlands, UK) – North American Premiere. 23-year-old Franky has spent most of her life seeking justice for the fire that left her with both physical and emotional scars as a child. When Franky falls in love with Florence, it seems her wounds have begun to heal, but the past finds a way of coming back to her. Directed and written by Sacha Polak. Produced by Marleen Slot, Mike Elliott. With Vicky Knight, Esmé Creed-Miles, Charlotte Knight, Archie Brigden, Angela Bruce.

A Strange Path, (Brazil) – World Premiere. A young filmmaker returns to his hometown and attempts to reconnect with his father as the pandemic rapidly accelerates across Brazil. However, their relationship proves to be more complicated with increasingly bizarre phenomena occurring as they get closer. Directed and written by Guto Parente. Produced by Ticiana Augusto Lima. With Lucas Limeira, Carlos Francisco, Tarzia Firmino, Rita Cabaço.

DOCUMENTARY COMPETITION

Experience the cinema of reality with these remarkable non-fiction premieres sure to make waves in the coming year.

Patrick Achucka and Kole Achucka in “Between the Rains” (Photo by Andrew H. Brown)

Between the Rains, (Kenya) – World Premiere. Between the Rains is a coming-of-age documentary following a young member of a formerly nomadic northern Kenyan tribe as it deals with the environmental and psychological effects of climate change. The result is a film woven around the concepts of tradition, culture, and home. Directed by Andrew H. Brown, Moses Thuranira. Produced by Moses Thuranira, Samuel Ekomol, Andrew H. Brown.

Breaking the News, (United States) – World Premiere. Breaking the News follows the determined efforts of women and nonbinary journalists launching a news “startup” to foreground voices omitted from mainstream news. Filmmakers Hernandez, Courtney, and Hairston provide a deep look into bias and inclusion in the ever-shifting media landscape. Directed by Chelsea Hernandez, Heather Courtney, Princess A. Hairston. Produced by Diane Quon, Heather Courtney, Princess A. Hairston, Chelsea Hernandez. 

The Gullspång Miracle, (Sweden, Norway, Denmark) – World Premiere. In Maria Fredriksson’s stranger-than-fiction documentary, two pious sisters buy an apartment after having witnessed a divine sign — only to realize that the seller of the apartment looks identical to their other sister, who committed suicide some thirty years before. Directed by Maria Fredriksson. Produced by Ina Holmqvist.

The Lionheart, (United States) – World Premiere. The on-track death of two-time Indianapolis 500 winner Dan Wheldon shook motorsports to its core. Ten years later, Wheldon’s sons Sebastian and Oliver follow in their father’s footsteps, working through their grief behind the wheel at 200 MPH. Directed by Laura Brownson. Produced by Chapman Way, Maclain Way, Laura Brownson. 

Maestra, (United States, France, Poland, Greece) – World Premiere. Filmmaker Maggie Contreras follows women from different backgrounds as they compete in the first all-women competition for conducting. Maestra explores gender expectations with poise and warmth. Directed by Maggie Contreras. Produced by Neil Berkeley, Maggie Contreras, Melanie Miller, Lauren Lexton, Emma West.

Q, (Lebanon, United States) – World Premiere. In her exceptional debut feature, filmmaker Jude Chehab potently explores her mother Hiba’s devotion to an all-female, secretive religious order in Syria. With visually striking and haunting imagery, Chehab scrutinizes how this devotion upended their mother-daughter relationship and the dynamic of the whole family. Directed, written and produced by Jude Chehab.

Richland, (United States) – World Premiere. Richland is a sobering,meditative portrait of a nuclear company town that embraces its origins and divisive past, all while reflecting on its future. Filmmaker Irene Lusztig’s patient and inquisitive storytelling expertly navigates themes of security, violence, and community. Directed by Irene Lusztig. Produced by Irene Lusztig, Sara Archambault.

Rock Hudson: All That Heaven Allowed, (United States, United Kingdom, New Zealand) – World Premiere. This timely exploration of Hollywood and LGBTQ+ identity examines the life of legendary actor Rock Hudson, from his public “ladies’ man” persona to his private life as a gay man. Directed by Stephen Kijak. Produced by Will Clarke, George Chignell, Carolyne Jurriaans, Greg Berlanti, Sarah Schechter. An HBO Documentary Films release.

Rule of Two Walls, (Ukraine) – World Premiere. Rule of Two Walls explores the war in Ukraine through the lens of artists living and creating in the midst of unprecedented conflict. Visceral, poetic, and urgent, it illuminates the vital role of cultural and spiritual defiance in times of crisis. Directed by David Gutnik. Produced by Olha Beskhmelnytsina, Sam Bisbee, Stacey Reiss.

Stylebender, (New Zealand) – World Premiere. Israel Adesanya is an out-of-this-world fighter who is as complex as he is powerful. Stylebender follows the Nigerian-born, New Zealand-based MMA Champion as he grows his legend. Directed by Zoe McIntosh. Produced by Tom Blackwell. 

Take Care of Maya, (United States) – World Premiere. When Jack and Beata Kowalski are wrongfully accused of child abuse after their 10-year-old daughter Maya visits the ER, a nightmare unfolds. Directed by Henry Roosevelt. Produced by Caitlin Keating. A Netflix release.

Transition, (United States) – World Premiere. Transition follows Australian filmmaker Jordan Bryon as he undergoes transition while embedded with Taliban forces. Directed by Jordan Bryon, Monica Villamizar. Produced by Monica Villamizar. 

SPOTLIGHT NARRATIVE

Hannah Gross, Sophia Lillis and Michael Cera in “The Adults” (Photo by Tim Curtin)

A launching pad for the most buzzworthy new films, Tribeca’s Spotlight section brings audiences anticipated premieres from acclaimed filmmakers and star performers.

The Adults, (United States) – North American Premiere. A short trip back home reunites three siblings with a complicated past. The Adults explores the family dynamics that unfold when one of the siblings tries to assert his dominance as the best poker player in town. Directed and written by Dustin Guy Defa. Produced by Allison Rose Carter, Jon Read, Michael Cera, Julia Thompson, Hannah Dweck, Theodore Schaefer. With Michael Cera, Hannah Gross, Sophia Lillis.

Afire, (Germany) – New York Premiere. Leon and Felix travel to a summer home near the Baltic Sea hoping to dive into creative pursuits, but an unexpected guest disrupts their plans. As the sky turns orange from a nearby forest fire, it’s clear that trees aren’t the only thing burning. Directed and written by Christian Petzold. Produced by Florian Koerner von Gustorf, Michael Weber, Anton Kaiser. With Thomas Schubert, Paula Beer, Langston Uibel. A Sideshow and Janus Films Release.

The Blackening, (United States) – US Premiere. Based on the viral digital skit, The Blackening tells the story of old friends who reunite in a cabin in the woods (where have we heard that before?). The fun weekend quickly becomes a fight to survive, and the only way to make it out is to figure out which friend is the Blackest of them all. Directed by Tim Story, written by Tracy Oliver, Dewayne Perkins. Produced by Tim Story, Tracy Oliver, E. Brian Dobbins, Marcei A. Brown, Jason Clark, Sharla Sumpter Bridgett. With Grace Byers, Jermaine Fowler, Melvin Gregg, X Mayo, Dewayne Perkins, Antoinette Robertson, Sinqua Walls, Jay Pharoah, Yvonne Orji. A Lionsgate release.

Blood for Dust, (United States) – World Premiere. Jeff loses his traveling salesman job and decides to take on a risky new opportunity with Ricky, an old acquaintance. Soon, he is submerged into a dangerous underworld in this edge-of-your-seat action thriller. Directed by Rod Blackhurst, written by David Ebeltoft. Produced by Noah Lang, Mark Fasano, Nathan Klingher, Bobby Campbell, Arun Kumar, Ari Novak. With Scoot McNairy, Kit Harington, Josh Lucas, Stephen Dorff, Ethan Suplee, Nora Zehetner, Amber Rose Mason.

Bucky F*cking Dent, (United States) – World Premiere. Aspiring novelist and Yankee Stadium peanut slinger, Ted, discovers his estranged, Red Sox fanatic father is terminally ill. Wanting to mend fences and take care of the old man, Ted returns home with results as wild and unpredictable as the 1978 baseball season. Directed and written by David Duchovny. Produced by Jordan Yale Levine, Jordan Beckerman, Tiffany Kuzon, David Duchovny. With David Duchovny, Logan Marshall-Green, Stephanie Beatriz.

Cinnamon, (United States) – World Premiere. Two young lovers risk it all to chase their dreams. With great performances, including a menacing Pam Grier, Cinnamon deftly brings the Blaxploitation genre to the modern day. Directed and written by Bryian Keith Montgomery Jr. Produced by Oz Scott. With Damon Wayans, Hailey Kilgore, David Iacono, Jeremie Harris, Pam Grier. A Tubi release.

Cold Copy, (United States) – World Premiere. The kinetic drama Cold Copy follows an ambitious journalism student’s tactics to impress, and get into the good graces of, an esteemed yet cutthroat news reporter — even if it involves manipulating her latest story … and truth itself. Directed and written by Roxine Helberg. Produced by Justin Lothrop, Brent Stiefel, Daniel Bekerman, Roxine Helberg. With Bel Powley, Tracee Ellis Ross, Jacob Tremblay, Nesta Cooper.

Downtown Owl, (United States) – World Premiere. Based on the novel by Chuck Klosterman, Downtown Owl is a stylish and energetic adaptation that thrusts viewers into small-town Owl, North Dakota, as a motley crew of characters brace for a historic blizzard. Directed by Lily Rabe, Hamish Linklater, written by Hamish Linklater. Produced by Bettina Barrow, Lily Rabe, Hamish Linklater, Rebecca Green. With Lily Rabe, Ed Harris, Vanessa Hudgens, August Blanco Rosenstein, Jack Dylan Grazer, Arianna Jaffier, Finn Wittrock, Henry Golding.

Eric LaRue, (United States) – World Premiere. In the aftermath of a shocking crime at the hands of their son, two parents seek solace in rival religious congregations in Michael Shannon’s emotional directorial debut. Directed by Michael Shannon, written by Brett Neveu. Produced by Sarah Green, Karl Hartman, Jina Panebianco. With Judy Greer, Alexander Skarsgård, Alison Pill, Paul Sparks, Tracy Letts.

First Time Female Director, (United States) – World Premiere. Chelsea Peretti makes her directorial debut with this hilarious ensemble comedy set in a Glendale theater where a new female director struggles to fill the shoes of her male predecessor, putting her Southern rural drama in jeopardy. Directed and written by Chelsea Peretti. Produced by Deanna Barillari, Chelsea Peretti, Amy Poehler, Kate Arend, Jordan Grief. With Chelsea Peretti, Amy Poehler, Kate Berlant, Benito Skinner, Megan Stalter, Megan Mullally.

Fresh Kills, (United States) – World Premiere. After their patriarch goes to prison, the loyal women of the Larusso family must survive by following the unspoken code of the New York City mafia world in the late ’80s and early ’90s. Directed and written by Jennifer Esposito. Produced by Leslie Owen, Jennifer Esposito, Samantha Sprecher, Christine Crokos. With Emily Baden, Odessa A’zion, Jennifer Esposito, Dominick Lombardozzi, Annabella Sciorra, Nicholas Cirillo.

The Good Half, (United States) – World Premiere. An emotionally distant writer returns home for his mother’s funeral in this tender family dramedy. The Good Half offers an honest and nuanced approach to grief, regret, and healing. Directed by Robert Schwartzman, written by Brett Ryland. Produced by Russell Wayne Groves. With Nick Jonas, Brittany Snow, Matt Walsh, David Arquette, Alexandra Shipp, Elisabeth Shue.

He Went That Way, (United States) – World Premiere. A fateful meeting in 1964 along Route 66 pairs a 19-year-old serial killer with a celebrity animal handler shepherding an American TV darling — his chimpanzee, Spanky. Directed by Jeffrey Darling, written by Evan M. Wiener. Produced by Marc Benardout, Hugh Broder, James Harris, Jeremy Kotin, Mark Lane. With Jacob Elordi, Zachary Quinto.

I.S.S., (United States) – World Premiere. Tensions flare in the near future aboard the International Space Station as nuclear war begins on Earth. Reeling from these events, astronauts and cosmonauts receive similar orders: take control of the station at any cost. Directed by Gabriela Cowperthwaite, written by Nick Shafir. Produced by Pete Shilaimon, Mickey Liddell. With Chris Messina, Ariana DeBose, Pilou Asbæk, John Gallagher Jr., Costa Ronin, Maria Mashkova.

John Early: Now More Than Ever, (United States) – World Premiere. A comedy special by way of The Last Waltz, New York’s alt-comedy godfather John Early performs his silly, surreal, spontaneous stand-up set in front of a live audience, a full band … and his parents. Directed by Emily Allan, Leah Hennessey. Produced by John Early, Dave Kneebone, Tim Heidecker, Eric Wareheim, Janel Kranking. An HBO Original Release.

LaRoy, (United States, France) – World Premiere. After discovering his wife’s affair, Ray Jepsen plans to kill himself, but fate intervenes. Through a bizarre turn of events, he is mistaken for a low-rent hired killer and decides to become one. Directed and written by Shane Atkinson. Produced by Caddy Vanasirikul, Sébastien Aubert, Jérémie Guiraud. With John Magaro, Steve Zahn, Dylan Baker, Megan Stevenson, Matthew Del Negro, Brad Leland.

The Lesson, (UK) – World Premiere. A young novelist eager to make a name for himself begins tutoring the son of one of the most influential writers in the world. Good intentions soon give way to suspicion as darker motivations surface and the lines of master and protégé are blurred. Directed by Alice Troughton, written by Alex MacKeith. Produced by Camille Gatin, Cassandra Sigsgaard, Judy Tossell, Fabien Westerhoff. With Richard E. Grant, Julie Delpy, Daryl McCormack, Stephen McMillan, Crispin Letts. A Bleecker Street release.

The Line, (United States) – World Premiere. Coming-of-age feature The Line explores the moral ambiguity of loyalty to tradition, as seen through a college sophomore in the throes of fraternity culture. Directed by Ethan Berger, written by Ethan Berger, Alex Russek. Produced by Alexandre Dauman, Jack Parker, Adam Paulsen, Lije Sarki. With Alex Wolff, Lewis Pullman, Halle Bailey, Austin Abrams, Angus Cloud, Scoot McNairy, John Malkovich.

The Listener, (United States) – North American Premiere. An understated drama about a night in the life of a mental health helpline volunteer, The Listener is a stirring testament to the power of empathy. Directed by Steve Buscemi, written by Alessandra Camon. Produced by Wren Arthur, Steve Buscemi, Oren Moverman, Lauren Hantz, Tessa Thompson. With Tessa Thompson.

Maggie Moore(s), (United States) – World Premiere. A small-town sheriff is baffled when two women with the same name get murdered days apart. Things quickly ratchet up in this comedy that reunites leading Mad Men alumni. Directed by John Slattery, written by Paul Bernbaum. Produced by John Slattery, Vincent Newman, Dan Reardon, Santosh Govindaraju, Nancy Leopardi, Ross Kohn. With Jon Hamm, Tina Fey, Micah Stock, Nick Mohammed, Happy Anderson, Mary Holland. A Screen Media release.

The Miracle Club, (Ireland, UK) – World Premiere. Three close friends who have never left the outskirts of Dublin (much less Ireland) get the journey of a lifetime – a visit to Lourdes, the picturesque French town and place of miracles. Directed by Thaddeus O’Sullivan, written by Joshua D. Maurer, Timothy Prager, Jimmy Smallhorne. Produced by Joshua D. Maurer, Alixandre Witlin, Chris Curling, Larry Bass, Aaron Farrell, John Gleeson, Osín O’Neill. With Laura Linney, Maggie Smith, Kathy Bates, Agnes O’Casey, Stephen Rea. A Sony Pictures Classics release.

Our Son, (United States) – World Premiere. Fed up with the state of his relationship, Gabriel files for divorce from his partner of thirteen years, Nicky. Thus begins their complex journey to find themselves and support their son along the way. Directed by Bill Oliver, written by Peter Nickowitz, Bill Oliver. Produced by Fernando Loureiro, Eric Binns, Guilherme Coelho, Jennifer 8. Lee, Christopher Lin. With Billy Porter, Luke Evans, Robin Weigert, Andrew Rannells, Isaac Powell, Phylicia Rashad.

The Perfect Find, (United States) – World Premiere. Looking for a fresh start, a forty-year-old returns to the workforce, where she must navigate a challenging workplace, a demanding boss, and a lusty secret romance. directed by Numa Perrier, written by Leigh Davenport. Produced by Glendon Palmer, Gabrielle Union, Jeff Morrone, Codie Elaine Oliver, Tommy Oliver. With Gabrielle Union, Keith Powers, Aisha Hinds, DB Woodside, Janet Hubert, Alani “La La” Anthony, Gina Torres. A Netflix release.

Shortcomings, (United States) – New York Premiere. A biting satire following the romantic journeys of its trio of protagonists, led by an appealingly misanthropic Justin H. Min, Shortcomings is a charming, witty and hilarious directorial debut from Randall Park. Directed by Randall Park, written by Adrian Tomine. Produced by Hieu Ho, Randall Park, Michael Golamco, Margot Hand, Jennifer Berman, Howard Cohen, Eric d’Arbeloff. With Justin H. Min, Sherry Cola, Ally Maki, Debby Ryan, Tavi Gevinson, Sonoya Mizuno, Jacob Batalon, Timothy Simons. A Sony Pictures Classics Release.

SPOTLIGHT DOCUMENTARY

Both onscreen and behind the camera, Spotlight Documentary films represent the most noteworthy names in nonfiction premiering high profile new work.

A re-enactment scene in “All Up in the Biz” (Photo by Ian Reid)

All Up in the Biz, (United States) – World Premiere. In All Up in the Biz, director Sacha Jenkins creates a collage of celebrity interviews, rare film, reenactments, and playful animation to share how Biz Markie left his mark on the history of hip-hop. Directed by Sacha Jenkins. Produced by Andre Wilkins, Djali Brown-Cepeda.

American Son, (United States) – World Premiere. Author Jay Caspian Kang’s astute, incisive directorial debut tells the story of Asian American tennis prodigy Michael Chang, the youngest player to win a men’s Grand Slam tournament. Directed by Jay Caspian Kang. Produced by Laura Dodd, Cora Atkinson. An ESPN Films release.

Anthem, (United States) – World Premiere. What would it sound like to have a national anthem that actually reflects America? Anthem follows composer Kris Bowers and producer DJ Dahi on a road trip across the country to find out.Directed by Peter Nicks. Produced by Peter Nicks, Kris Bowers, Sean Havey, Chris L. Jenkins, Ryan Coogler. An Onyx Collective/Hulu release.

BS High, (United States) – World Premiere. After a nationally televised high school football game between top-ranked IMG Academy and unknown Bishop Sycamore ended with an IMG blowout win, it’s discovered that Bishop Sycamore isn’t at all what it seems. Directed by Martin Desmond Roe, Travon Free. Produced by Jack Turner, Spencer Paysinger, Todd Schulman, Constance Schwartz-Morini, Adam McKay, Michael Strahan, Jay Peterson, Todd Lubin. An HBO Sports Documentaries release.

Comedy of War: Laughter in Ukraine, (United States) – World Premiere. Four Ukrainian stand-up comics tour their homeland, bringing laughter and joy as a form of resistance and recovery amid wartime. This heartfelt documentary beautifully portrays the enduring human spirit and comedy’s healing power. Directed by Christopher Walters. Produced by Krista Liney.

Common Ground, (United States) – World Premiere. Sobering yet hopeful, Common Ground exposes the interconnectedness of American farming policy, politics, and illness. Follow the solution-driven plight of Regenerative Farmers as they make a case for soil health across the continent and beyond. Directed by Rebecca Tickell, Josh Tickell. Produced by Rebecca Tickell, Josh Tickell, Eric Dillon. Recipient of the 2023 Human/Nature Award.

Every Body, (United States) – World Premiere. Three intersex people challenge a heteronormative system of secrecy and non-consensual surgery. Every Body is Oscar-nominated documentarian Julie Cohen’s impassioned battle cry for the rights and dignity of intersex children and adults in the United States.  Directed by Julie Cohen. Produced by Tommy Nguyen, Molly O’Brien. A Focus Features release.

Happy Clothes: A Film About Patricia Field, (United States) – World Premiere. With idiosyncratic style and an eye toward the future of fashion, Patricia Field has always been shaping culture. Happy Clothes: A Film About Patricia Field brings us into the mind of the one-of-a-kind visionary and queer icon. Directed by Michael Selditch. Produced by Donald Zuckerman, Samuel J. Paul, Michael Selditch, Lydia Tenaglia, Christopher Collins, Luisa Law, Tricia Weber Youssi, Ryan Price, Lori Zuckerman.

Invisible Beauty, (United States) – New York Premiere. This documentary about the life of model and activist Bethann Hardison is both a fascinating life story and an irrefutable argument for the importance of diversity and inclusion. Directed by Bethann Hardison, Frédéric Tcheng. Produced by Lisa Cortés.

It’s Basic, (United States) – World Premiere. A compelling look at Universal Basic Income pilot programs in U.S. cities, It’s Basic follows those spearheading the movement to combat inequality and poverty. Directed by Marc Levin. Produced by Michael Tubbs, Daphne Pinkerson, Auri Akerele, Elizabeth Sehring.

The League, (United States) – World Premiere. Baseball isn’t the game we know and love without the contribution of Black Americans. Director Sam Pollard explores the incredible history of the Negro Leagues, its impact on the sport of baseball, and the players that still resonate through history to this day. Directed by Sam Pollard. Produced by Dave Sirulnick, Jen Isaacson, Robin Espinola, Byron Motley, Ahmir “Questlove” Thompson, Tariq Trotter. A Magnolia Pictures release.

Milli Vanilli, (United States) – World Premiere. Filmmaker Luke Korem looks back on the origins and eventual fallout of a one-hit-wonder. Milli Vanilli scrutinizes the dreams of singers Rob & Fab, who fell prey to greedy tactics, causing their downfall. Directed by Luke Korem. Produced by Luke Korem, Bradley Jackson.

Minted, (United States, Canada, Cuba, Netherlands, India, Nigeria) – World Premiere. Director Nicholas Bruckman brings a fascinating look at the intersection of art, commerce, and digital ownership through the rise and crash of the NFT market. Directed by Nicholas Bruckman. Produced by Shawn Hazelett, Rahilla Zafar.

Open Heart, (United States) – World Premiere. Open Heart is an intimate profile of New York Rangers goalie Henrik Lundqvist’s struggles to return to hockey after heart surgery. Directed by Jonathan Hock. Produced by Philip Aromando, Erin Leyden, Larry Robbins.

Poisoned: The Danger in Our Food, (United States) – World Premiere. Foodborne pathogens kill thousands of people in the U.S. every year. The urgent documentary Poisoned: The Danger in Our Food is a call to action for the officials who have the power to mitigate this danger. Directed by Stephanie Soechtig. Produced by Ross Girard, Ross Dinerstein, Rebecca Evans. A Netflix release.

Rise – the Siya Kolisi Story, (South Africa) – World Premiere. Chronicling the legendary story of the first Black captain of the South Africa National Rugby Union Team, Rise – the Siya Kolisi Story shows a rebellious young star as he becomes a leader, and ultimately a cultural icon. Directed by Tebogo Malope. Produced by Jon Day.

Ron Delsener Presents, (United States) – World Premiere. Ron Delsener was the most influential concert promoter in New York. In addition to looking back at his career, this documentary shows that the now 86-year-old Delsener still has a spring in his step. Directed by Jake Sumner. Produced by Jake Sumner, James A. Smith, Margaret Loeb. 

The Saint of Second Chances, (United States) – World Premiere. The Saint of Second Chances explores the legendary Major League Baseball promoter and owner, Bill Veeck. From “Disco Demolition” to fireworks in the outfield, Veeck’s stunts are credited with forever making watching baseball more fun. Directed by Morgan Neville, Jeff Malmberg. Produced by Danny Breen, Morgan Neville, Jon Berg. A Netflix release.

The Space Race, (United States) – World Premiere. Highlighting the experiences of the first Black astronauts through decades of archival footage and interviews, The Space Race is a reflective illumination on the burden of breaking barriers. Directed by Diego Hurtado de Mendoza, Lisa Cortés. Produced by Keero Birla.

Stan Lee, (United States) – World Premiere. Tracing his life from his upbringing in New York as Stanley Lieber to the rise of Marvel Comics, Stan Lee tells the story of Stan Lee’s life, career, and legacy using his own words and personal archival material. Directed by David Gelb. Produced by David Gelb, Jason Sterman and Brian McGinn. A Disney+ release.

Sunday Best, (United States) – World Premiere. An affectionate documentary about the career of pioneering television host Ed Sullivan, Sunday Best pays particular attention to Sullivan’s platforming of Black musicians during the civil rights era. Directed by Sacha Jenkins. Produced by Rafael Marmor, Margo Precht Speciale, Christopher Leggett, Peter Bittenbender, Mark Monroe.

Taylor Mac’s 24-Decade History of Popular Music, (United States) – World Premiere. This riotous concert film documents New York theater legend Taylor Mac’s joyous, challenging, and ostentatiously queer 24-hour musical performance. Featuring virtuoso musicians, innovative costumes, and the American myth as told by sailor’s ditties, disco, and sugary pop alike, Mac’s cathartic celebration is not to be missed. Directed by Rob Epstein, Jeffrey Friedman. Produced by Joel Stillerman, Linda Brumbach, Alisa Regas, Taylor Mac, Mari Rivera. An HBO Documentary Films Release.

This Is Not Financial Advice, (United States) – World Premiere. Retail investors, including “Dogecoin Millionaire” Glauber Contessoto, navigate the burgeoning, lucrative, and volatile world of cryptocurrency. Directed by Chris Temple, Zach Ingrasci. Produced by Jenna Kelly, Carrie Weprin, Martine Phelan-Roberts.

Untitled Nicky Nodjoumi, (United States) – World Premiere. In this hybrid political thriller and verité portrait documentary, Sara Nodjoumi, working with co-director and husband, Till Schauder, makes her directorial debut with this personal film, diving into the mystery surrounding the disappearance of more than 100 “treasonous” paintings by her father, seminal Iranian modern artist Nickzad Nodjoumi. Directed by Sara Nodjoumi, Till Schauder. Produced by Sara Nodjoumi, Till Schauder. An HBO Documentary release.

We Dare to Dream, (UK) – World Premiere. An inspirational, intimate story of resilience and freedom, We Dare To Dream follows athletes on their journey to become part of the refugee Olympic team in Tokyo 2020. Directed by Waad al-Kateab. Produced by Joanna Natasegara.

Your Fat Friend, (United States, UK) – World Premiere. Popular anonymous blogger Aubrey Gordon spent five years writing about the realities of living as a self-described “very fat person.” Now, she is about to face the public for the very first time. Directed and produced by Jeanie Finlay.

SPOTLIGHT+ 

Tribeca’s unique Spotlight+ events bring the film experience off the screen with live events, performances, and conversations after each screening.

“Bad Like Brooklyn Dancehall” (Photo by Dutty Vannier)

Bad Like Brooklyn Dancehall, (United States, Jamaica) – World Premiere. New York City is the Fifteenth Parish in this documentary about the city’s role in the evolution of Dancehall, with legends like Shaggy and Sean Paul on hand to help tell the story. Directed by Ben DiGiacomo, Dutty Vanier. Produced by Amy DiGiacomo, Jay Will, Ben DiGiacomo, Ramfis Myrthil, AJ Leon.

After the Movie: Performance by Dancehall legends.

Gloria Gaynor: I Will Survive, (United States) – World Premiere. After 40 years, the singer of “I Will Survive” makes her comeback with a new gospel album. This poignant documentary chronicles Gloria Gaynor’s struggles with ageism and financial ruin on the journey to have her voice heard once more. directed by Betsy Schechter. Produced by Betsy Schechter.

After the Movie: A performance by the one and only Gloria Gaynor.

It’s Only Life After All, (United States) – New York Premiere. A revealing exploration of the beloved duo The Indigo Girls — from their serendipitous meeting at Emory University to their worldwide acclaim — It’s Only Life After All beautifully demonstrates how the musical pair has always remained authentic to their roots as artists, activists, and friends. Directed by Alexandria Bombach. Produced by Kathlyn Horan, Jess Devaney, Anya Rous, Alexandria Bombach.

After the Movie: Songwriting Masterclass by Indigo Girls.

Rather, (United States) – World Premiere. Rather is a long overdue tribute to an icon of journalism, a late-in-life Twitter superstar, father, husband, and voice of reason, compassion and brilliance—Dan Rather. Directed by Frank Marshall. Produced by Frank Marshall, Jenifer Westphal, Joe Plummer, Jeff Hasler, Ethan Goldman, Aly Parker. 

After the Movie: A conversation with Peabody Award-winning news anchor Dan Rather and director Frank Marshall.

Scream of My Blood: A Gogol Bordello Story, (United States) – World Premiere. Following the Russian invasion of his native Ukraine, Eugene Hütz recalls the influence Ukrainian and Roma culture had on him in this globe-spanning history of his punk band Gogol Bordello. Directed by Nate Pommer. Produced by Shawn Killebre. 

After the Movie: A performance by Gogol Bordello.

Songs About Fucking, (United States) – World Premiere. Songs About Fucking introduces the artist, showman, and robe-clad raconteur Marc Rebillet as he embarks on one of the first live music tours after COVID-19 lockdown. Directed by James Gallagher. Produced by Lizzie Shapiro, Andrew Swett, Gus Deardoff.

After the Movie: A musical Q&A with Marc Rebillet.

Uncharted, (United States) – World Premiere. Filmmaker Beth Aala goes behind the scenes of Alicia Keys’ “She Is The Music” songwriting camp in this revealing look at the music business. Through the experiences of young Black and Brown women, we are shown how hard it is to succeed in a world granting very little access and opportunity for them. Directed and produced by Beth Aala. Executive Produced by Abby Greensfelder.

After the Movie: A performance from She Is The Music artists, curated by Alicia Keys.

Waitress, the Musical – Live on Broadway!, (United States) – World Premiere. The hit Broadway musical about a small-town pie baker with big dreams gets the silver screen treatment. Directed by Brett Sullivan, music and lyrics by Sara Bareilles, book by Jessie Nelson. Produced by Michael Roiff, Barry Weissler, Fran Weissler, Sara Bareilles, Jessie Nelson, Paul Morphos. With Sara Bareilles, Charity Angél Dawson, Caitlin Houlahan, Drew Gehling, Dakin Matthews.

After the Movie: A special performance from Sara Bareilles.

VIEWPOINTS

Tribeca’s home for distinct points of view and bold directorial visions, Viewpoints discovers the most boundary-pushing, rule-breaking new voices in independent film.

Apolonia Sokol in “Apolonia, Apolonia” (Photo by Lea Glob)

Apolonia, Apolonia, (Denmark, Poland) – North American Premiere. The striking character-driven documentary Apolonia, Apolonia dives into the exhilarating lifestyle of a young French painter. Filmmaker Lea Glob’s intimate exploration of Apolonia Sokol’s creative pursuits and setbacks results in poignant and deeply-felt storytelling. Directed by Lea Glob. Produced by Sidsel Siersted.

Asog, (Philippines, Canada) – World Premiere. This unique narrative incorporating documentary elements follows Rey, a 40-year-old non-binary teacher and typhoon survivor, on a roadtrip to fame. With surreal comedy and social portrait realism, filmmaker Seán‌ Devlin explores climate change, LGBTQ+ issues, and the impact of colonialism on contemporary Philippines. Directed by Seán Devlin, written by Seán Devlin, Jaya, Arnel Pablo. Produced by Amanda Ernst. With Jaya, Arnel Pablo, Ricky Gacho Jr.

Break the Game, (United States) – World Premiere. Record-breaking gamer Narcissa Wright grapples with her toxic obsession for attention and her space in the streaming community after coming out as transgender, all while attempting to set a new world record for The Legend of Zelda: Breath of the Wild. Directed and produced by Jane M. Wagner.

Catching Dust, (UK, Spain) – World Premiere. A young couple living through turmoil at a commune in the heart of Big Bend gets a visit from New York transplants seeking a new lease on life. Tensions boil over and egos come to a head, leaving everyone frayed and on the edge of disaster. Directed and written by Stuart Gatt. Produced by Mark David, Jon Katz, Edward R. Pressman, Stuart Gatt. With Erin Moriarty, Jai Courtney, Dina Shihabi, Ryan Corr.

Chasing Chasing Amy, (United States) – World Premiere. A filmmaker goes on a journey of self-discovery while making a documentary on the development and creation of Kevin Smith’s controversial LGBTQ+ film, Chasing Amy. Directed by Sav Rodgers. Produced by Alex Schmider, Carrie Radigan, Lela Meadow-Conner, Matthew Mills, Sav Rodgers.

Deep Sea, (China, Netherlands) – North American Premiere. The visually-remarkable coming-of-age animated film Deep Sea thrusts a young girl down to a dreamlike aquatic world where she encounters bizarre creatures and fights to reconnect with her mother. Employing sumptuous watercolor and 3D animation, Tian’s film is a feast for the eyes and heart. Directed and written by Xiaopeng Tian. Produced by Qiao Yi. With Wang Tingwen, Su Xin, Teng Kuixing, Yang Ting, Ji Jing, Fang Taochen.

Hey Viktor!, (Canada) – World Premiere. Twenty-five long years after his time in the limelight, former child actor Cody Lightning tries to revive his fortunes with a self-produced sequel to Smoke Signals in this smart, irreverent new comedy. Directed by Cody Lightning, written by Cody Lightning, Samuel Miller. Produced by Samuel Miller, Blackhorse Lowe, Joshua Jackson, Kyle Thomas, Sara Corry, Blake McWilliam. With Cody Lightning, Hannah Cheesman, Simon Baker, Adam Beach, Gary Farmer, Irene Bedard, Colin Mochrie.

Kim’s Video, (United States) – New York Premiere. For decades, Kim’s Video was a gold mine of extraordinary films until its collection vanished into Italy amid a mysterious sale. Now, take a deep dive into the unbelievable true story of the New York video store and cultural landmark beloved by cinephiles. Directed by David Redmon, Ashley Sabin. Produced by Francesco Galavotti, David Redmon, Ashley Sabin, Dale Smith, Deborah Smith, Rebecca Tabasky.

The Last Night of Amore, (Italy) – North American Premiere. Lieutenant Franco Amore is about to retire after 35 years dedicated to the Italian State Police, until a tempting offer arrives on his last day on the job. Writer-director Andrea Di Stefano delivers a contemporary mafia tale involving greed, corruption, and, of course, family affairs. Directed and written by Andrea Di Stefano. Produced by Francesco Melzi d’Eril, Gabriele Moratti, Marco Colombo, Marco Cohen, Benedetto Habib, Fabrizio Donvito, Daniel Campos Pavoncelli. With Pierfrancesco Favino, Linda Caridi. 

Melody of Love, (Ethiopia, Belgium, Argentina, Germany) – World Premiere. Ethiopian jazz guitarist Michael is called upon by his mother to leave Addis Ababa and join her in Brussels, stoking his deep resentment toward European entitlement in this rich, evocative meditation on the internalized weight of colonialism. Directed and written by Edmundo Bejarano. Produced by Carlos Vargas. With Elijah Akalu.

Öte, (Turkey) – World Premiere. Öte follows Lela, a Black woman from New York City traveling alone through Turkey. In no rush to reach her destination, Lela is happily sidetracked by the chance encounters her journey provides. Directed and written by Edmundo Bejarano. Produced by Carlos Vargas. With Iman Artwell-Freeman, Eren Acili, Gülsüm Ölgen, Ziya Sundançikmaz. 

Playland, (United States) – North American Premiere. Haunting, whimsical, and exquisitely realized, Playland pays tribute to a long-lost Boston gay bar and the beautiful queer souls who gave it life. Directed and written by Georden West. Produced by Russell Sheaffer, Hannah McSwiggen, Danielle Cooper.

MIDNIGHT

Surprising, shocking, frightening, and thrilling, Tribeca Midnight is the destination for the best in horror and more for late night audiences.

Laura Galán in “One Night With Adela” (Photo by Diego Trenas)

One Night with Adela, (Spain) – World Premiere. After her night shift ends, Adela goes on a drug-fueled, violent rampage of furious revenge on those who ruined her in this remarkably paced, audacious debut. Directed and written by Hugo Ruiz. Produced by Roberto Valentín Carrera, Pedro Azón Ramón y Cajal, Israel Luengo Arana, Hugo Ruiz, Fausto Arias Figuerola-Ferretti, Tote Trenas. With Laura Galán, Gemma Nierga, Jimmy Barnatán, Rosalía Omil, Raudel Raul, Fernando Moraleda. 

Perpetrator, (United States, France) – North American Premiere. Teenager Jonny gains supernatural abilities through a mystical transformation, just as girls from her new school go missing. Jonny takes the investigation into her own hands in this coming-of-age, feminist horror-noir. Directed and written by Jennifer Reeder. Produced by Derek Bishé, Gregory Chambet. With Kiah McKirnan, Alicia Silverstone, Christopher Lowell, Melanie Liburd, Ireon Roach. A Shudder release.

The Seeding, (United States) – World Premiere. When a hiker gets lost in the desert, a gang of feral children propelled by haunting legacies traps him in a sadistic battle for survival with a frightening endgame. Directed and written by Barnaby Clay. Produced by Brian R. Etting. With Scott Haze, Kate Lyn Sheil.

You’ll Never Find Me, (Australia) – World Premiere. During a rampaging storm, a shaken young woman arrives at a stranger’s door in an RV park seeking shelter. They both question motives and desires as things escalate to a deadly, bizarre showdown. Directed by Josiah Allen, Indianna Bell, written by Indianna Bell. Produced by Josiah Allen, Indianna Bell, Jordan Cowan, Christine Williams. With Jordan Cowan, Brendan Rock.

ESCAPE FROM TRIBECA

Our Psychotronic Sidebar presenting genre movies from around the globe, giveaways, and special events sure to please even the rowdiest movie lovers.

“Adipurush”

Adipurush, (India) – World Premiere. Reimagining the epic Indian poem “Ramayana,” the big-budgeted visual feast Adipurush tells the tale of a prince on a mission to rescue his wife from a ten-headed demon overlord. Directed by Om Raut, written by Om Raut, Manoj Muntashir Shukla. Produced by Bhushan Kumar, Krishna Kumar, Om Raut, Prasad Sutar, Rajesh Nair. With Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh.

Enter the Clones of Bruce, (United States) – World Premiere. Get ready to play a game of death … and another … and another. The wild documentary Enter the Clones of Bruce dives into the Bruce Lee exploitation craze, otherwise known as Bruceploitation. Directed by David Gregory. Produced by David Gregory, Carl Daft, Frank Djeng, Vivian Wong, Michael Worth. A Severin Films release.

Enter the Dragon, (Hong Kong, United States). One of the most influential crowd pleasers of all time, Enter the Dragon became a global phenomenon along with its beloved star, the legendary Bruce Lee. Join us for this 50th Anniversary screening and celebrate the legacy of this superstar performer and choreographer. Exciting, hilarious and jaw dropping. Directed by Robert Clouse, written by Michael Allin. Produced by Paul Heller, Andre Morgan, Fred Weintraub.

After the Movie: Co-star Angela Mao and Producer Andre Morgan will speak about Bruce Lee and the production of the film, and the Andersons Martial Arts Academy will lead a performance and an audience participation ceremony in honor of his passing 50 years ago.

Final Cut, (France) – New York Premiere. In this clever and raucous “requel” of the Japanese cult hit One Cut of the Dead, a French film crew hilariously struggles to pull off an ambitious, livestreamed, single-take filming of the alien zombie apocalypse. Directed and written by Michel Hazanavicius. Produced by Michel Hazanavicius, Alain de la Mata, Noémie Devide, Brahim Chioua, Vincent Maraval, John Penotti. With Bérénice Bejo, Romain Duris. A Kino Lorber release.

Suitable Flesh, (United States) – World Premiere. After murdering her young patient, a once-esteemed psychiatrist helplessly watches her life spiral into a nightmarish maelstrom of supernatural hysteria and gruesome deaths, all linked to a seemingly unstoppable ancient curse. Directed by Joe Lynch, written by Dennis Paoli. Produced by Barbara Crampton, Bob Portal, Joe Wicker, Inderpal Singh. With Heather Graham, Judah Lewis, Bruce Davison, Johnathon Schaech, Barbara Crampton, Jonah Ray.

2023 TRIBECA FESTIVAL SHORT FILM SELECTION

NARRATIVE SHORTS

Paolo Vargas in “Angelo” (Photo by Alex Plumb)

Angelo, (Bolivia) – New York Premiere. Directed and written by Alex Plumb.

Bellybutton, (United States) – New York Premiere. Directed and written by Hilary Eden.

Blackwool, (Scotland) – World Premiere. Directed and written by Eubha Akilada.

Blood, (Australia) – World Premiere. Directed and written by Vathana Suganya Suppiah.

Brenda and Billy (and the Pothos Plant), (United States) – World Premiere. Directed and written by Dave Solomon.

Burrow, (United States) – World Premiere. Directed and written by Leaf Lieber.

Cuarto de Hora, (France, Chile) – World Premiere. Directed and written by Nemo Arancibia.

Daddy Issues, (United States) – World Premiere. Directed by Matt Campanella and Stephanie Chloé Hepner. Written by Matt Campanella.

Dead Cat, (Canada) – World Premiere. Directed and written by Annie-Claude Caron and Danick Audet.

Ecstasy, (Mexico, United States) – World Premiere. Directed and written by Carolina Costa.

Everybody Dies…Sometimes, (United Kingdom) – International Premiere. Directed and written by Charlotte Hamblin.

Fairytales, (Mexico) – World Premiere. Directed by Daniela Soria. Written by Daniela Soria and Mar Flores.

Feliz Navidad, (Italy) – International Premiere. Directed and written by Greta Scarano.

Ferns, (Chile) – World Premiere. Directed and written by Paz Ramírez.

Fish Out of Water,  (United States) – World Premiere. Directed by Francesca Scorsese. Written by Francesca Scorsese, Megan LuLu Taylor, Savannah Braswell.

Flower, (United States) – World Premiere. Directed by Lauren Finerman.   

For people in trouble, (United Kingdom) – World Premiere. Directed and written by Alex Lawther.

A Fox In The Night, (United Kingdom) – New York Premiere. Directed and written by Keeran Anwar Blessie.

Hafekasi, (Australia) – World Premiere. Directed and written by Annelise Hickey.

HEARTBEAT, (Switzerland) – North American Premiere. Directed by Michèle Flury. Written by Michèle Flury and Martha Benedict.

Il Fait Beau, (Netherlands) – World Premiere. Directed and written by Leonardo Cariglino.

In Passing, (United States) – World Premiere. Directed and written by Hillia Aho.

Konpa, (United States) – World Premiere. Directed and written by Al’Ikens Plancher.

The K-Town Killer, (United States) – World Premiere. Directed and written by Healin Kweon and Vahan Bedelian.

Last Call, (United Kingdom) – World Premiere. Directed by Harry Holland.

Let Liv, (United States) – World Premiere. Directed by Erica Rose. Written by Olivia Levine.

Mars, (United Kingdom) – North American Premiere. Directed by Abel Rubinstein. Written by Chris Bush.

My Eyes Are Up Here, (United Kingdom) – New York Premiere. Directed by Nathan Morris. Written by Arthur Meek.

Nuit Blonde, (Canada) – United States Premiere. Directed and written by Gabrielle Demers.

Proof of Concept, (United States) – World Premiere. Directed and written by Ellie Sachs.

Rustling, (New Zealand) – New York Premiere. Directed and written by Tom Furniss.

Schettinimous, (Argentina) – International Premiere. Directed by Tomás Terzano. Written by Tomás Terzano and Macarena Rubio.

Sealed Off, (China, Macau, United States) – World Premiere. Directed and written by Tianyu Jiang.

Shadow Brother Sunday, (United States) – World Premiere. Directed and written by Alden Ehrenreich.

Somewhere In Between, (United States) – World Premiere. Directed and written by Kyle Vorbach.

The Sperm Bank, (United States) – World Premiere. Directed by Margaux Susi. Written by Rob Scerbo and Jeremy Culhane.

Spinning, (Mexico) – New York Premiere. Directed by Isabel Vaca and Arturo Mendicuti. Written by Mara Vaca

Thaw, (United States) – World Premiere. Directed and written by Alex Bush

They Grow Up So Fast, (United States) – New York Premiere. Directed and written by John F. Beach.

Tits, (Norway) – World Premiere. Directed and written by Eivind Landsvik.

Upsidedown, (United States) – World Premiere. Directed and written by Razan Ghalayini.

Voice Activated, (Australia) – New York Premiere. Directed by Steve Anthopoulos.

DOCUMENTARY SHORTS

“Ayenda”

Ayenda, (United States) – World Premiere. Directed by Marie Margolius.

Black Girls Play: The Story of Hand Games, (United States) – World Premiere. Directed by Joe Brewster and Michele Stephenson.

Cam’s Mementos, (United States) – World Premiere. Directed by Cam Archer.

Cruzan Cowboys, (United States, US Virgin Islands) – World Premiere. Directed by Douglas Wesley Segars.

Deciding Vote, (United States) – World Premiere. Directed by Jeremy Workman and Robert Lyons.

Dragon Boys, (United Kingdom, Ghana) – World Premiere. Directed by Tom Ringsby.

Goodbye, Morganza, (United States) – World Premiere. Directed by Devon Blackwell.

In the Shadow of Palms, (United States) – World Premiere. Directed by Mischa Meyer.

Letter to Rosie, (United States) – World Premiere. Directed by Ariel Danziger.

Merman, (United States) – World Premiere. Directed by Sterling Hampton IV.

Miss Brown, (United States) – World Premiere. Directed by Christina Burchard.

Over The Wall, (United States) – World Premiere. Directed by Krystal Tingle.

The Right to Joy, (United States) – New York Premiere. Directed by Tim Kressin.

Savi the Cat, (United States) – New York Premiere. Directed by Bryan Tucker and Netsanet Tjirongo.

Then Comes the Body, (Nigeria, United States) – World Premiere. Directed by Jacob Krupnick.

To My Father, (United States) – World Premiere. Directed by Sean Schiavolin.

What Next?, (France) – World Premiere. Directed by Cécile Rogue.

The Winterkeeper, (United Kingdom) – World Premiere. Directed by Laurence Topham and David Levene.

ANIMATED SHORTS

Vishavjit Singh in “American Sikh” (Image courtesy of Studio Showoff)

American Sikh, (United States) – World Premiere. Directed by Ryan Westra and Vishavjit Singh. Written by Ryan Westra.

Corvine, (Canada) – New York Premiere. Directed and written by Sean McCarron.

A Cow in the Sky, (United States) – World Premiere. Directed by C. Fraser Press and Darren Press. Written by C. Fraser Press.

The Night Doctrine, (United States, Afghanistan) – World Premiere. Directed by Mauricio Rodriguez Pons and Almuneda Toral.

Regular Rabbit, (Ireland) – New York Premiere. Directed and written by Eoin Duffy.

Restless Is the Night, (United States) – New York Premiere. Directed by Yuehan Tan and Xiaoxue Meng.

Starling, (United States) – World Premiere. Directed by and written by Mitra Shahidi.

Witchfairy, (Belgium, Bulgaria) – New York Premiere. Directed by David Van de Weyer. Written by Brigitte Minne.

MUSIC VIDEOS

Aina Malvik in “Anoana” (Photo by Øystein Moe)

Anoana, (Norway) – New York Premiere. Directed by Line Klungseth Johansen. Written by Line Klungseth Johansen and Øystein Moe.

Bugs, (United States) – New York Premiere. Performed by The Vindys. Directed by Peter-John Campbell.

I Guess I’m Changing, (United Kingdom) – New York Premiere. Performed by Someone. Directed by David Spearing. Written by Tessa Rose Jackson.

The Light, (United States) – New York Premiere. Performed by Lunarcode. Directed and written by Vincenzo Carubia.

Special, (United States) – New York Premiere. Performed by Lizzo. Directed by Christian Breslauer.

To The Desert, (Israel) – New York Premiere. Performed by Dana Ivgy. Directed by Asaf Yecheskel. Written by Dana Ivgy.

Wait in the Truck, (United States) – New York Premiere. Performed by Hardy. Directed by Justin Clough. Written by Michael Hardy and Justin Clough.

Wild Child, (United States) –  New York Premiere. Performed by The Black Keys. Directed by Bryan Schlam.

Review: ‘What We Do Next,’ starring Corey Stoll, Karen Pittman and Michelle Veintimilla

March 19, 2023

by Carla Hay

Michelle Veintimilla, Corey Stoll and Karen Pittman in “What We Do Next” (Photo by Garrette Rose/Small Batch Studio Entertainment)

“What We Do Next”

Directed by Stephen Belber

Some language in Spanish with no subtitles

Culture Representation: Taking place in New York City, the dramatic film “What We Do Next” features a racially diverse cast of characters (African American, white and Latin) representing the working-class and middle-class.

Culture Clash: An ambitious politician and a corporate lawyer face ethical dilemmas stemming from their connection to a murder committed by a recently released prisoner.

Culture Audience: “What We Do Next” will appeal mainly to people who are interested in suspenseful and above-average dramas that realisitically address uncomfortable issues related to crime and identity politics.

Karen Pittman and Michelle Veintimilla in “What We Do Next” (Photo by Garrette Rose/Small Batch Studio Entertainment)

“What We Do Next” is a superbly acted and well-written drama that tackles issues of race, gender and social class in American politics and the U.S. criminal justice system. Michelle Veintimilla, Karen Pittman and Corey Stoll give compelling performances. The movie takes a hard-hitting look at all these issues from three different perspectives, without making the narrative too cluttered or messy. And with a total running time of 77 minutes, “What We Do Next” is just the right length to tell this gripping story.

If the movie looks like a cinematic version of a play, that’s because writer/director Stephen Belber originally intended “What We Do Next” to be a play, according to what Belber says in the “What We Do Next” production notes. There is a small number of locations in the dialogue-driven movie, while the cast has a small number of people. The three main characters get nearly all of the screen time. All the other cast members in the movie are extras.

“What We Do Next” (which takes place in New York City, but the movie was actually filmed in Louisville, Kentucky) begins with a scene of a concerned community organizer named Sandy James (played by Pittman) having a difficult conversation with a frightened and distraught Elsa Mercado (played by Veintimilla), who is 16 years old at the time. It’s a conversation that becomes the catalyst for the turmoil that happens in the three main characters’ lives.

Sandy asks teenage Elsa, “How does it make you feel?” Elsa replies, “Like I fucking hate him.” Sandy then asks Elsa, “Does he hurt your brother?” Elsa heistantly nods and then says, “But not what he does to me.” Sandy offers to contact child protective services for Elsa, but Elsa doesn’t want that to happen.

“They’re just going to split me and my brother up,” Elsa says of child protective services. Sandy tells Elsa, “You do what you need to do to survive. You need to be strong.” The details of what happened after this conversation unfold in layers throughout the movie.

“What We Do Next” fast-forward several years later. The movie doesn’t say exactly how many years, but based on conversations, it’s about 15 or 16 years after this conversation between Sandy and Elsa has happened. Sandy is now a highly respected city councilwoman for New York City’s 10th district. She’s a progressive Democrat who is currently running for the position of speaker of the city council. Her campaign is going well, and she is expected to win.

However, Sandy’s campaign could have a scandal that she doesn’t want people to know about, so she has called a private meeting in her office with corporate atttoney Paul Fleming (played by Stoll), one of only a few people who know about this secret. Elsa is the other person who knows the secret, and she’s recently been released from prison for murdering her father with a gun. Elsa claimed that she killed her father because he was sexually abusing her and physically abusing her younger brother. Elsa received a 16-year prison sentence but has been let out of prison early due to good behavior.

Paul and Sandy haven’t seen or spoken to each other in years. They share a connection with Elsa that is revealed in this conversation: Years ago, when Sandy found out that Elsa’s father was sexually abusing Elsa, Sandy asked Paul for $500 in cash, because she wanted to give Elsa the money. Sandy thought the money was going toward a down payment for Elsa and Elsa’s disabled mother to find a new place to live. Instead, Elsa took the money to buy the gun that Elsa used to kill her father.

During the trial, it was never made clear where Elsa got the money for the gun. However, Sandy is worried this information might come out and would result in Sandy being indirectly tied to the murder. Sandy is concerned because a reporter named Jim Feingold from Slate plans to do an article revisiting this high-profile murder case, not what Elsa has been released from prison. The reporter (who is never seen in the movie) has already contacted Sandy for an interview, but she’s declined to talk to the media about her connection to Elsa. Sandy is convinced that the reporter is trying to dig up dirt on her to ruin her campaign.

Sandy tells Paul: “I’m the council’s leading advocate on gun cntrol, and I unwillingly faciiltated a murder.” Paul knows that Sandy had no idea that Elsa was going to use the $500 to buy a gun. And he thinks that Sandy shouldn’t have her political career ruined over a misunderstanding that could be blown out of proportion. He volunteers to tell any media person who asks that he was the one who gave Elsa the cash, without knowing that she was going use the money to buy a gun.

Paul says to Sandy: “I’d like to help you on your misson, which is helping people, including Elsa, who’s done her [prison] time, and doesn’t deserve to get caught up in some bullshit scandal aimed at your integrity. You’re on the right side of every issue.” He adds this comment about this seemingly noble gesture to take responsibility for what Sandy did: “It’ll help me look good too.”

And just how do Sandy and Paul know each other? They had a fling years ago, around the time that Sandy knew Elsa. Paul was married at the time (he’s now divorced, with a 9-year-old son named Theo), and Sandy was apparently one of several women he was sexually involved with when he was married. Paul won’t reveal to Sandy the details over why he got divorced, but he tells Sandy that he was mostly to blame for the marriage’s failure, which is basically saying that his infidelity was one of the main reasons for the divorce.

Observant viewers will also notice a part of the conversation where Sandy mentions she was a “side piece” for a woman who was also sexually involved with Paul. Sandy doesn’t label her sexuality, but she tells Paul that she’s currently in a live-in relationship with guy named Dan, and she doesn’t divulge much more information about this relationship. Paul mentions that he lives alone in New Rochelle, and his ex-wife has full custody of their son Theo. Although Sandy and Paul compliment each other during their conversation, neither is interested in rekindling anything sexual between them.

And what is going on Elsa, now that she’s been released from prison? A pivotal scene in the movie shows Sandy and Paul meeting with a now-adult Elsa (also played by Veintimilla) in an unoccupied warehouse, not far from Sandy’s office. Sandy and Paul chose this location because it’s a secret meeting. Sandy and Paul tell Elsa that if anyone asks her who gave her the money for the gun, Elsa needs to say that it was Paul, not Sandy. At first, Elsa refuses this request. Elsa says she’s trying to turn her life around for the better and doesn’t want to get caught up in lies and a conspiracy that could send her back to prison.

But when street-smart Elsa sees that Sandy is somewhat desperate to cover up the truth, Elsa wants to know what’s in it for her if she does this favor for Sandy. After some shrewd questioning, Elsa finds out what Sandy’s salary is. And instead of taking the low-paying job that Sandy had initially offered to find for Elsa, this ex-con demands that Sandy find her a job that pays at least $75,000 a year. Elsa says she needs this job security because her prison record will make it hard for her to find a good job, and she has family members that she needs to take care of financially.

The rest of “What We Do Next” shows the tension-filled, high-wire act between these three people as their lives become further intertwined and their careers change. It’s enough to say that Elsa doesn’t stay out of trouble for long. She gets into a drunken bar fight with a man because she said that he sexually assaulted her by fondling her breasts without her consent. Elsa punched the man while wearing rings on her hand, and he fell down so hard, he bit off part of the tip of his tongue. (The movie does not show this fight, which is told only told from Elsa’s perspective.)

Elsa was arrested, the man she got in the fight with is pressing charges against her, and Elsa is terrified of going back to prison. And who did Elsa call to get bailed out of jail? None other than Paul. Elsa then goes to Sandy to ask Sandy for an even bigger favor, which leads to the story’s main conflict that becomes a maelstrom of how race, gender and social class play roles in how people are treated and what people are willing to do to overcome negative stereotypes.

“What We Do Next” is a fascinating character study of three “politically liberal” people and how they use prejudice against underprivileged people as both a self-serving stepping stone and as a weapon of guilt. The movie doesn’t pass judgment on any of its characters or the circumstances in which they find themselves. However, if “What We Do Next” had a subtitle for how the characters deal with certain problems, it could be that old saying: “The road to hell is sometimes paved with good intentions.”

Paul has family issues related to domestic abuse that he later reveals in the movie. Whether he wants to admit it or not, Paul likes to play the role of the “white male savior,” even when his own life is far from perfect. Sandy is an ambitious politician who is adamant about maintaining her integrity, because she knows she is under more scrutiny simply because she is an African American woman in a line of work that is dominated by white men. Elsa, who is Puerto Rican, comes from a low-income broken home, and her dysfunctional background might or might not have shaped her volatile personality. Elsa is highly manipulative, and it soon becomes obvious that she has untreated mental health issues.

“What We Do Next” has very authentic dialogue and scenarios that elevate the quality of this movie, which has no-frills direction from Belber. Without the outstanding performances of Veintimilla, Pittman and Stoll, “What We Do Next” would not have the emotional credibility that makes this film worthwhile to watch. Veintimilla has the movie’s most complex performance, since Elsa is a character who can inspire compassion and contempt, often in the same scene.

“What We Do Next” is a movie that doesn’t need a large budget, artsy visuals or elaborate locations to make an impact. The movie has some very powerfully charged scenes that just need the cast members and dialogue to keep viewers riveted to see what will happen. Most of all, “What We Do Next” will make viewers think about how privilege (or lack of privilege) can affect acts of kindness, which sometimes come at a heavy price.

Small Batch Studio Entertainment released “What We Do Next” in select U.S. cinemas on March 3, 2023.

Review: ‘Inside’ (2023), starring Willem Dafoe

March 18, 2023

by Carla Hay

Willem Dafoe In “Inside” (Photo by Wolfgang Ennenbach/Focus Features)

“Inside” (2023)

Directed by Vasilis Katsoupis

Culture Representation: Taking place in New York City, the dramatic film “Inside” features a nearly all-white cast of characters (with one Latino) representing the working-class, middle-class and wealthy.

Culture Clash: A burglar breaks into a wealthy man’s penthouse to steal valuable art, and he is trapped inside by a malfunctioning security system. 

Culture Audience: “Inside” will appeal primarily to people who are fans of star Willem Dafoe and people who don’t mind watching slow-paced psychological dramas with good acting.

Willem Dafoe In “Inside” (Photo by Wolfgang Ennenbach/Focus Features)

“Inside” would’ve been better as a short film. However, Willem Dafoe gives an acting performance worth watching for people who don’t have short attention spans. Don’t expect much action in this drama. This movie is a psychological portrait of confinement.

Directed by Vasilis Katsoupis and written by Ben Hopkins, “Inside” takes place entirely in an upscale New York City penthouse. (The movie was actually filmed on a soundstage in Cologne, Germany.) “Inside” had its world premiere at the 2023 Berlin International Film Festival. Dafoe is the only person with an on-camera speaking role in the movie. If you know that information in advance, then you’ll either be interested or not interested in watching “Inside.”

The beginning of “Inside” has a voiceover monologue from art thief Nemo, the character played by Dafoe. In the monologue, Nemo says: “When I was a kid, a teacher asked what are the three things I would save from my house if it were on fire.” I answered, ‘A sketchbook, my AC/DC album and my cat Groucho.'”

He continues, “I didn’t say. ‘My parents or sister.’ Most of the other kids did [mention family members]. Does that make me a bad person? My cat died. I lent the AC/DC album to a guy named Kojo, and I never saw it again. But the sketchbook, I kept. Cats die. Music fades. But art is for keeps.”

That’s about all the information that viewers will get about Nemo’s background. He is next shown breaking into a New York City penthouse, where the occupants are not home. Nemo is there to steal specific pieces of valuable art, especially a self-portrait painting of the penthouse’s owner, whose name is never mentioned in the movie.

Another portrait painting of the owner hangs in the living room, with this particular portrait showing the owner (played by Gene Bervoets), who is a middle-aged man with white hair, and his daughter (played by Ava von Voigt), who looks about 12 or 13 years old. There are clues that this owner is a well-known artist, besides his valuable self-portrait. Nemo finds photos in the home of the penthouse owner with high-society people at fancy gala events.

Nemo communicates by walkie talkie with a cohort who’s not in the building but identifies himself as Number 3 (voiced by Andrew Blumenthal), who is directing Nemo on which art pieces are the top priorities to steal. Number 3 says that the owner’s self-portrait painting is the most important art that needs to be taken in this heist, because this painting is worth $3 million. Nemo takes some other paintings and a sculpture, but he can’t find the self-portrait painting. This heist has been timed so that Nemo is supposed to steal what he came to steal and leave in a matter of 10 minutes or less.

But something goes horribly wrong for Nemo. The security access code that Number 3 gives him to leave the penthouse undetected doesn’t work. Instead, the security system triggers an alarm, with a computerized voice repeating loudly, “System malfunction.” And then, all of the doors and windows in the penthouse are locked shut from the outside. Nemo is now trapped in the penthouse.

Nemo frantically tells Number 3 what just happened and asks for help. However, Number 3 is in a panic too. He tells Nemo: “I don’t know what to do, man. I’m sorry. You’re on your own. Over and out.”

Nemo has no idea if anyone heard the alarm or not. (The penthouse’s walls are and doors are very thick.) However, Nemo doesn’t want to wait around to find out if police or the building’s security are on their way to catch him during this burglary. He tries to break a window, but the windows are shatter-proof. But even if he were able to break a glass, he’s also at the top of a high-rise building in a penthouse that doesn’t have a fire escape staircase outside any windows.

One of the first things that Nemo does is find the wiring that leads to the alarm system. He cuts it so that there is no more noise. After a while, when it becomes obvious that no one heard the alarm, Nemo relaxes a little and looks inside the refrigerator, which is equipped with artificial intelligence technology that speaks. A somewhat amusing gag in the movie is that the refrigerator also plays Los Del Rio’s 1993 novelty hit “Macarena” at random times when the refrigerator is opened.

The penthouse has enough food and drinks for Nemo. After he drinks everything in the refrigerator, Nemo uses a garden sprinkler (the penthouse has an indoor garden) or tap water for liquid sustenance. But there’s another problem: The heating inside the penthouse has been turned up from the security malfunction. The temperature reaches up to 100 degrees Fahrenheit. Nemo finds out that the adjustment equipment for the indoor heating system isn’t working. And so, there are several scenes where sweaty Nemo tries to solve that problem.

The penthouse has surveillance video equipment with video monitors that look out into various parts of the building. Nemo can see the doorman station in the front lobby, a back stairwell, and inside one of the building’s elevators. A building housekeeper dressed in a maid’s uniform is shown taking her lunch breaks in the stairwell. Nemo knows her name is Jasmine (played by Eliza Stuyck), and he knows the names of a few other people in the building when he sees them on the surveillance monitors. It’s an indication that Nemo either cased the place very well before the heist, or he might have met these people before in some capacity.

Viewers will have to speculate why this penthouse’s owner was targeted for this theft. However, there are some clues that Nemo is an architect who’s a frustrated artist and who is jealous of this penthouse owner. Nemo has a sketchbook with him that he uses during the time he is trapped. He also seems very knowledgeable about how buildings are structured. And early on in the movie, Nemo looks at a painting of the owner on the wall while Nemo holds a medallion that he’s wearing as a necklace. Nemo sneers at the painting and says, “I’ve got a Pritzker Prize. What the fuck have you done?”

Because “Inside” is all about Nemo being isolated, there isn’t much talking throughout the movie. Nemo occasionally mutters things out loud. And as loneliess starts to set in, he begins to talk out loud to himself more often. Nemo tries to contact Number 3 by walkie talkie multiple times, but he gets no answer. Eventually, the walkie talkie battery goes dead. Nemo also texts an unnamed person to try to help him, but he gets no reply.

“Inside” has a few plot holes, some of which have logical explanations while others do not. The first question that some viewers might ask is: “Isn’t a good alarm system supposed to alert law enforcement?” A possible explanation is that the alarm system malfunctioned (as stated in the beginning of the movie), so the law enforcement alert part of the alarm system didn’t work.

What’s hard to believe is that Nemo stays trapped in the penthouse for “months,” without anyone going to the penthouse and finding him there, according to the production notes for “Inside.” It’s very unlikely that someone with the penthouse owner’s wealth would not have anyone checking in on the penthouse for that long period of time, even if it’s just to water the plants. A better and more believable narrative for the film would have been to have Nemo trapped for a week or two at the most.

That would still be enough time to have what happens in the movie: The reality starts to sink in with Nemo that no one really cares about him. And it really messes with his mind. He is trapped in a luxury penthouse with material things worth a lot of money, but the irony is that Nemo doesn’t have what every non-hermit human being needs: some kind of meaningful connection with other people. For all intents and purposes, the penthouse (which has excellent production design by Thorsten Sabel) has become a gilded cage for Nemo. Even though “Inside” is not Dafoe’s best movie, he is still riveting to watch in this performance.

“Inside” is not going to please viewers who think that the movie should have more suspense or subplots. A predictable storyline would have been for Nemo to use the surveillance equipment as a way to entertain himself. Instead, the movie shows Nemo’s mental deterioration as a way to invite viewers to think about what they would do if they were trapped in a luxury home with no one to talk to for weeks on end, and no way to escape unless someone came to the rescue. “Inside” is a thoughtful but long-winded story that puts into perspective what really matters in life, when so many people in society perceive material wealth to be the key to happiness.

Focus Features released “Inside” in select U.S. cinemas on March 17, 2023.

Review: ‘Scream VI,’ starring Melissa Barrera, Jenna Ortega, Mason Gooding, Jasmin Savoy Brown, Courteney Cox, Hayden Panettiere and Dermot Mulroney

March 8, 2023

by Carla Hay

Mason Gooding, Jenna Ortega, Jasmin Savoy Brown, Devyn Nekoda and Melissa Barrera in “Scream VI” (Photo courtesy of Paramount Pictures)

“Scream VI”

Directed by Matt Bettinelli-Olpin and Tyler Gillett

Culture Representation: Taking place in New York City, the horror film “Scream VI” features a racially diverse cast of characters (Latin, white African-American) representing the working-class and middle-class.

Culture Clash: The four main survivors of the serial killings in the 2022 movie “Scream” have relocated from the fictional Woodsboro, California, to New York City, where they are plagued by a new set of Ghostface Killer murders. 

Culture Audience: “Scream VI” will appeal primarily to people who are fans of the “Scream” franchise and horror movie sequels that make several references to its preceding movies.

Dermot Mulroney and Hayden Panettiere in “Scream VI” (Photo courtesy of Paramount Pictures)

“Scream VI” has further cemented the “Scream” franchise as an intentionally comedic self-parody, but this entertaining movie doesn’t skimp on the horror thrills. The movie’s best scenes make up for the far-fetched revelations in the last 15 minutes. As the sixth movie in the “Scream” series, “Scream VI” is best appreciated by people who’ve seen all the previous “Scream ” movies, because there are many jokes and references to this predecessor films. However, if it’s not possible for someone to see all the previous “Scream” movies, then the 1996 “Scream” film (the one that started the series) and the 2022 “Scream” film are the two most essential moves to watch before seeing “Scream VI.”

The 2000 movie “Scream 3” added a movie-within-a-movie storyline, by creating a fictional horror movie series called “Stab,” which was inspired by what happened in the first “Scream” movie. It’s helpful, but not essential, to watch “Scream 3” before seeing “Scream VI.” What’s most important for viewers of “Scream VI” to know is that “Scream VI” gives a summary of all the revealed identities of the Ghostface Killer (who wears a creepy ghostface mask and a black hooded robe), who is a different person or people in each “Scream” movie. If you didn’t know their identities before seeing “Scream VI,” then the movie spoils all that information.

“Scream VI” reunites directors Matt Bettinelli-Olpin and Tyler Gillett with screenwriters James Vanderbilt and Guy Busick, who had the same roles for the 2022 “Scream” movie. Most of the same producers from 2022’s “Scream” are also part of the “Scream VI” team. “Scream VI” picks up one year after the events of the 2022 “Scream” movie, which took place mainly in the fictional Woodsboro, California. Four of the survivors of the Ghostface Killer murders and mayhem that happened in 2022’s “Scream” are trying to put this trauma behind them, and have relocated to New York City. (“Scream VI” was actually filmed in Montreal.)

Samantha “Sam” Carpenter (played by Melissa Barrera), who is 25 or 26, is in therapy but finds it difficult to open up to her therapist Dr. Christopher Stone (played by Henry Czerny) until a pivotal scene that’s a helpful summary for anyone who didn’t see 2022’s “Scream.” When Sam isn’t busy with her two jobs, she’s being overprotective of her younger half-sister Tara Carpenter (played by Jenna Ortega), who 18 years old and a first-year student at the fictional Blackmore University. Tara and Sam live in the same apartment building.

The other two people in this tight-knit foursome are twins Mindy Meeks-Martin (played by Jasmin Savoy Brown) and Chad Meeks-Martin (played by Mason Gooding), who are also first-year students at Blackmore University. The uncle of Mindy and Chad was Randy Meeks (played by Jamie Kennedy), whose fate is shown in 1997’s “Scream 2.” Mindy is a “Stab” trivia fanatic, while Chad (who was a popular athlete in high school) has a not-so-secret crush on Tara. Chad has come up with a nickname for this quartet of survivors: The Core Four. It’s a name that the other three think is corny, and the movie shows whether or not they go along with Chad’s enthusiasm to give themselves this nickname.

Three of the new characters that are introduced in “Scream VI” have gotten close to the Core Four. Tara’s free-spirited roommate Quinn Bailey (played by Liana Liberato) is having fun dating various men, but her sex life sometimes gets in the way of Tara wanting some peace and quiet. Chad’s roommate is Ethan Landry (played by Jack Champion), a socially awkward misfit who wants to be accepted by Chad and his friends. Anika Kayoko (played by Devyn Nekoda) is dating openly queer Mindy, in a fairly new romance.

As several scenes in the movie show, Tara is resentful of Sam’s hovering presence, because Tara wants to be treated like an independent adult, not a helpless child. Tara and Sam also disagree about how to cope with what happened to them in Woodsboro. Tara refuses to go to therapy, she doesn’t like to talk about what happened in Woodsboro, and she thinks Sam is living too much in the past. Sam thinks it’s detrimental for Tara to avoid getting therapy. Meanwhile, Sam becomes the subject of untrue gossip spread on the Internet that she was really the Ghostface Killer in Woodsboro.

To its credit, “Scream VI” is less cluttered with characters than 2022’s “Scream.” The movie’s opening scene continues the “Scream” tradition of someone being murdered by the Ghostface Killer, who has called that victim on the phone. The person who gets slaughtered in the opening scene is Laura Crane (played by Samara Weaving), an associate professor of film studies at Blackmore University. She teaches horror movies as part of her curriculum.

On the night that Laura is murdered, it’s close to Halloween, and many people are dressed up in Halloween costumes for parties and other Halloween festivities. Laura is not in a Halloween costume when she is seen at a bar, talking on the phone with what she thinks is her blind date for the night. The date is really a Ghostface Killer.

The “date” pretends to be lost and asks Laura to step outside the bar into an alley where he says he is. While she’s on the phone, the caller’s tone turns menacing as he snarls, “You teach a class about slashers, and you still walk into a dark alley alone.” Needless to say, Laura doesn’t last long in this movie.

Without giving away too much information, it’s enough to say that it’s revealed early on in the movie that Sam and Tara are the main targets for the Ghostface Killers. It’s also revealed that whoever is behind the murders that happen also wants to finish the “Stab” tribute movie that was started by Richie Kirsch (played by Jack Quaid), who was Sam’s boyfriend in 2022’s “Scream,” but (spoiler alert for people who haven’t seen 2022’s “Scream”), Richie turned out to be the Ghostface Killer, and Sam killed him in self-defense.

Some other characters who are part of the “Scream VI” are Blackmore University student Jason Carvey (played by Tony Revolori); Quinn’s father Detective Bailey (played by Dermot Mulroney), who is a police officer who investigates homicides; and David Brackett (played by Josh Segarra), an attractive neighbor who lives in the apartment building directly across from the apartment building where Sam, Tara and Quinn live. Sam and Tara (who has given David the nickname Hot Boy) can see directly into David’s apartment and vice versa.

“Scream VI” also has the return of ambitious and arrogant TV news journalist Gale Weathers (played by Courteney Cox), who has written a book about the events that happened in 2022’s “Scream.” Tara and Sam are furious about this book not only because Gale had broken her promise not to write a book about what happened but also because the book at unflattering descriptions of Tara and Sam.

Also making her return to “Scream VI” is Kirby Reed (played by Hayden Panettiere), who was the “final girl” in 2011’s “Scream 4.” Kirby, who is now 30 years old and an agent for the FBI, arrives in New York City to investigate this new set of Ghostface Killer murders. Kirby was a senior at Woodsboro High School when Sam was a freshman at the school. As for other familiar characters from the “Scream” franchise, Sidney Prescott (played by Neve Campbell), the original target of the Ghostface Killer, is not in “Scream VI” but is briefly mentioned as being in hiding in a safe place. Campbell went public about declining an offer to be in “Scream VI” because she felt that the offered salary was too low for her.

“Scream VI” delves more than 2022’s “Scream” did into the psychological fallout of all of these killings. “Scream VI” does a fairly good job at contrasting the ways that Sam and Tara feel about therapy, without passing judgment on either character. As already revealed in 2022’s “Scream,” Sam and Tara are the children of the late Billy Loomis (played by Skeet Ulrich), who was one of killers in the first “Scream” movie. As shown in 2022’s “Scream” and “Scream VI,” there are big indications that Sam is worried that she could have inherited a desire to become a murderer. “Scream VI” has more exploration of how Sam’s suspected “dark side” is affecting her.

The movie’s scenes with Ghostface Killer on a rampage are among the best of the “Scream” franchise. A standout scene is one that involves a ladder between buildings. Another scene that’s suspenseful is when Ghostface Killer goes after Tara and Sam in a convenience store. Meanwhile, there is plenty of sarcastic wisecracking (especially from Libby) about horror movie clichés, who the likely suspects are, and who’s most likely to be killed next. All of these self-referential jokes in “Scream VI” are sometimes to the detriment of the story. The movie doesn’t take itself too seriously, but it expects viewers to know a lot about the “Scream” movies, in order to get most of the jokes.

Barrera and Ortega, who are very believable as sisters with a love/hate relationship, are excellent additions to the “Scream” franchise. Mulroney really hams it up and delivers some of his lines in ways that are pure camp. Panettiere also gives a good performance as “all grown up now” Kirby. Cox doesn’t really do anything new with the Gale character, but she performs well in her action scenes. Savoy Brown is a sassy scene stealer with the Libby character, who has much better character development and funnier lines of dialogue than in 2022’s “Scream.”

There’s no doubt that “Scream VI” is an unapolgetic “fan service” movie that isn’t particularly accommodating to newcomers to the “Scream” movie franchise. And there isn’t anything innovative about the plot reveals, which might remind “Scream” fans of a certain previous “Scream” movie. “Scream VI” is not the best movie in the “Scream” franchise, but “Scream VI” delivers exactly what it intends: horror entertainment that serves up plenty of gore with self-deprecating laughs.

Paramount Pictures will release “Scream VI” in U.S. cinemas on March 10, 2023.

Review: ‘The Offering’ (2022), starring Nick Blood, Emily Wiseman, Allan Corduner, Paul Kaye and Daniel Ben-Zenou

February 26, 2023

by Carla Hay

Paul Kaye, Nick Blood and Allan Corduner in “The Offering” (Photo courtesy of Decal)

“The Offering” (2022)

Directed by Oliver Park

Some language in Hebrew with subtitles

Culture Representation: Taking place in New York City, the horror film “The Offering” a features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: A real-estate executive and his pregnant wife return to his hometown of New York City to visit his father, who owns and operates a funeral home that is the scene of many sinister occurrences caused by an evil spirit. 

Culture Audience: “The Offering” will appeal primarily to people who don’t mind watching supernatural horror movies that have jumbled stories and weak endings.

Allan Corduner, Paul Kaye and Nick Blood in “The Offering” (Photo courtesy of Decal)

“The Offering” is a disappointing and sloppily edited horror movie with some cringeworthy acting. The ending of the movie is very rushed and haphazard. The movie can’t maintain enough suspense. Scenarios are poorly explained and get more and more idiotic. It’s another “evil demon possessing bodies” horror flick that doesn’t do anything interesting after starting out with a promising concept.

Directed by Oliver Park and written by Hank Hoffman, “The Offering” (which takes place in New York City) begins with this statement: “In the myths of the Near East and Europe, there is one terrifying female demon, depicted in amulets, paintings and stones from as early as the first century A.D. She has dozens of names in multiple languages and religions, but carries only one horrifying attribute: the take of children.”

The next scene shows an elderly Orthodox Jewish man named Yosille Fishbein (played by Anton Trendafilov) in the library/study room of his home in New York City’s Brooklyn borough. He’s surrounded by a circle of dirt in the room. A creepy-looking, 7-year-old girl is in the room with Yosille.

She sneers at him in a menacing adult voice: “What are you doing, Yosille? You know what will happen if I don’t feed.” Yosille shouts back: “No more! I will never feed you again!” She replies, “Very well. There are always others. A life for your wife.” Yosille says out loud, “Forgive me.” And then, he stabs himself with a knife.

The movie then shifts to an outdoor scene in Brooklyn, where real-estate executive Art Feinberg (played by Nick Blood) and his pregnant wife Claire Feinberg (played by Emily Wiseman) have arrived to visit Art’s widower father Saul (played by Allan Corduner), who owns and operates the Feinberg Funeral Home in Brooklyn’s Borough Park neighborhood. Observant viewers will notice that on the street where Art and Claire have been dropped off by taxi at the funeral home, there is a missing person poster for a 7-year-old girl named Sarah Scheindal (played by Sofia Weldon), who happens to be the same girl who was with Yosille.

Art is nervous about this visit because he has an ulterior motive for this trip to Brooklyn. This visit is a pleasant surprise for Saul, because he and Art (who is an only child) have been estranged for years, but Saul has wanted a reconciliation for some time. The movie later reveals why Art and Saul were estranged. It has do with the death of Art’s mother. Art and Claire will be staying in the funeral home’s guest room during their visit.

A corpse has recently arrived to be prepared for an upcoming funeral. The dead body is that of Yosille. Years ago, when Art still lived in New York City, his father tried to get him to go into the family business. Art tried, but he didn’t like it. He is still very uncomfortable with the funeral business, but he reluctantly agrees to Saul’s request to help prepare Yosille’s body for the funeral. Art is the one who has to remove the knife from Saul’s chest, which is a very inaccurate-looking scene n the movie, since the knife removal would have been done by a morgue as part of the police investigation into this apparent suicide.

Saul has an employee named Heimish (played by Paul Kaye), who is an Orthodox Jew. Heimish is very suspicious of why Art has suddenly come back to visit Saul. Heimish describes Yosille as a “brilliant scholar” who became a recluse after Yosille’s wife died a few months ago. If you’ve seen enough horror movies or have basic common sense, you can easily figure out the connection between the last scene of Yosille being alive and why he would summon a demon, who has obviously possessed the body of Sarah Scheindal.

Art is by himself when he has to remove the knife from Yosille’s chest. He finds a triangle-shaped, blue jewel pendant, which he kicks down a grate on the floor. Big mistake. When Saul finds the knife in the mortuary sink, he notices that the knife has strange inscriptions that look like they’re in an ancient language. Saul takes the knife to an Orthodox Jewish scholar friend named Chayim (played by Daniel Ben Zenou) to ask him what the inscription reads.

The middle of “The Offering” somewhat drags when Art’s secret reason for this visit is revealed. There are a lot of predictable jump scares and some drama over Claire’s pregnancy. She and Art already know that their unborn child is a girl. All the signs are there that Yosille’s body has brought an evil spirit with it that was in the pendant that Art dropped.

“The Offering” has effective production design, since the set pieces (lots of dark and musty rooms) definitely help give the movie a very foreboding look. However, visuals alone do not make a good movie. The story starts to become an incoherent mess in the last third of the film, when Art suddenly acts like a private detective, and several idiotic things are crammed into the movie to try to ramp up the terror. The last third of “The Offering” also has some very silly chase scenes with terrible film editing.

The very beginning of “The Offering” already reveals that there’s a demon on the loose, so there’s no real suspense in this film. The uneven performances in the movie range from adequate (Corduner is the most convincing in his role) to downright awful (Wiseman is very stiff with her acting). The movie’s visual effects often look tacky and hard to believe.

Worst of all, the ending of “The Offering” is a complete dud and looks like a very lazy way to conclude the movie. For a much better horror movie with Orthodox Jewish themes, watch 2021’s “The Vigil.” “The Offering” and “The Vigil” (which both take place in Brooklyn’s Borough Park neighbhorhood) obviously had low budgets, but “The Vigil” is an example of a low-budget horror movie that delivers a high-quality story and plenty of compelling scares.

Decal released “The Offering” in select U.S. cinemas, on digital and VOD on January 13, 2023. The movie was released in the Netherlands in 2022.

Review: ‘The Pod Generation,’ starring Emilia Clarke and Chiwetel Ejiofor

February 23, 2023

by Carla Hay

Chiwetel Ejiofor, Rosalie Craig and Emilia Clarke in “The Pod Generation” (Photo by Andrij Parekh)

“The Pod Generation”

Directed by Sophie Barthes

Culture Representation: Taking place primarily in New York City, in an unspecified future, the sci-fi/comedy/drama film “The Pod Generation” features a predominantly white cast of characters (with some black people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After some initial disagreements, a married couple decides to have a baby through a technological invention where an unborn child grows in a portable, egg-shaped pod until the child is born. 

Culture Audience: “The Pod Generation” will appeal primarily to people who are fans of the movie’s headliners, sci-fi movies that lampoon technology, and stories about expectant parents, but viewers should not expect anything particularly clever in this movie.

“The Pod Generation” is a futuristic satire about family planning that starts off very promising, but then the movie drags with repetition and fizzles out with an underwhelming ending. The talents of the cast members are squandered in this shallow film. “The Pod Generation” (which had its world premiere at the 2023 Sundance Film Festival) also raises many questions that the movie never bothers to answer.

Written and directed by Sophie Barthes, “The Pod Generation” takes place in an unspecified future in New York City. This future has some technology that already exists in the early 2020s, but this future has other technology that did not exist at the time this movie was made. For example, in this future shown in “The Pod Generation,” people use artificial intelligence (A.I.) programs similar to Alexa (from Amazon) and Siri (from Apple Inc.) for a variety of functions and tasks.

In “The Pod Generation,” the protagonists use a talking A.I. program called Elena for various information and duties that are similar to what a personal assistant would perform. Another talking A.I. program in the movie is called Eliza, which acts as a psychiatric therapist and counselor. Both of these A.I. programs are shown in the form of creepy-looking eyes.

Elena is a single white orb (about the size of a grapefruit) with a black pupil; the orb is attached to a small stand. Elena can also rotate while on this stand. Eliza is a two-dimensional eye that looks like a wall art that is large enough to take up an entire wall space. Eliza has a more psychedelic appearance than Elena, since Eliza’s iris/pupil area is surrounded by a pulsating kaleidoscope design.

As compelling as these A.I. programs are to look at in “The Pod Generation,” they still can’t make up for the weak narrative throughout the movie. The story centers on married couple Rachel Novy (played by Emilia Clarke) and Alvy Novy (played by Chiwetel Ejiofor), who are having disagreements about how to conceive their first child together. Rachel works as some kind of office employee at a corporate company called Folio. She has a higher income than Alvy, who is a botanist and a teacher of hologram plant design. Alvy wants them to conceive a child naturally, while Rachel is more open to using the latest technology to have a child.

The movie implies that in vitro fertilization treatments are not out of the question for this couple, but Alvy is adamant that he wants Rachel to carry the unborn child in her own womb, instead of using a surrogate. “The Pod Generation” doesn’t go into details about how long Alvy and Rachel have been trying to have a child together, or even how long they’ve been married. However, the implication is that it’s long enough where it’s reached a point that Rachel (who is in her mid-30s) is growing desperate, because she feels that time is running out for her to conceive and carry a child naturally.

Alvy is about 10 years older than Rachel, although they do not discuss their age difference in the movie. “The Pod Generation” has subtle and not-so-subtle ways of showing how a male perspective and a female perspective can be different from each other, when it comes to pregnancy and childbirth. Because of menopause, women have a “biological clock” where time runs out on when they can conceive and carry a child naturally. Men have no such time pressure and can be involved in natural conception as long as they have the right sperm count for it.

“The Pod Generation” clumsily addresses these gender issues in ways that grow increasingly frustrating, not just for the couple at the center of the story but also for viewers of this movie. “The Pod Generation” does not adequately explain the legal issues involved in the new technology that Rachel and Alvy (after many arguments) decide to use to conceive and carry a child to term. The general feeling that viewers will get is that “The Pod Generation” was a screenplay written with a lot of repetitive dialogue and a “make things up as you go along” approach in crafting this futuristic world.

In the first third of the movie, Rachel and Alvy do a lot of bickering and debating about how they want to conceive a child. A company called Pegazus offers an alternative for people who can’t or don’t want to have an unborn baby growing inside a human body. Instead, Pegazus offers a portable, plastic pod in the shape of a large egg to do all the “in utero” work. It’s technology that’s available to those who can afford it—and it doesn’t come cheap, which is one of the reasons why Alvy is dead-set against this option. He doesn’t want any of his or Rachel’s money to be spent on it.

But what a coincidence: Rachel has recently found out that Folio has added this Pegazus pod program to Folio’s health insurance plan for employees. Rachel is told this information when she has a meeting with a Folio human resources executive (played by Aslin Farrell), who doesn’t have a name in the movie. This HR executive makes a lot of cringeworthy and illegal comments to Rachel during a one-and-one meeting in the HR executive’s office. This nosy HR person says a lot of inappropriate things that she probably wouldn’t say to a man. It’s obvious that “The Pod Generation” filmmakers want viewers to notice this sexism.

Rachel is told that she is being considered for a job promotion at Folio. And then the HR executive asks her what Rachel’s husband does for a living. When Rachel tells her, the unprofessional HR executive then snootily says, “So, you’re the primary source of income.” Instead of Rachel balking at this line of illegal questioning, Rachel meekly says, “Yes.”

The questions and comments get worse. The HR executive asks Rachel: “Any plans on extending the family?” Someone with more common sense and self-respect would put a stop to these illegal questions, or at least point out to this odious HR person that Rachel’s family planning is not the company’s business, and it’s illegal to ask these questions when being considered for a job, raise, or promotion.

But apparently, Rachel is too ignorant or she just doesn’t have the courage to stand up for herself and point out these facts. Instead, she stammers this answer: “I’m sure we will at one point. Not in the near, near future, but not immediately.” The HR executive then makes another heinous comment disguised as a semi-compliment: “You’re having a great, great year. It’d be a pity to lose that momentum.” (In other words, what she’s really saying is: “Forget about the promotion if you’re going on maternity leave.”)

And that’s when the HR director mentions that Folio will now cover Pegazus costs in the Folio health insurance plan: “Should you go down that route, we can even help you with the down payment. It’s our hottest perk. We just want to make sure we maintain the best and brightest women.” (In other words, what she’s really saying is: “We don’t want to be reminded that women who get pregnant and give birth have the right to maternity leave, because we think women who take maternity leave are less productive than women who don’t take maternity leave.”)

It’s not spoiler information to say that Rachel eventually convinces Alvy to use the Pegazus way of pregnancy. Alvy and Rachel have the popular option to choose the gender of the child in advance, but they choose not to take that option. Rachel and Alvy also decide not to find out the child’s gender until the child is born. Their unborn baby gestates in a pod that provides all of the fetus’ needs in the same way as if the baby were growing inside a human womb. Just like a human womb, the pod can be part of ultrasound screenings, while the fetus inside can hear any sounds that are nearby. The pod is not supposed to be opened until the time of childbirth.

All of the computer technology connected to each pod is at the Pegazus womb center, which is essentially a pod control center. The pod can be left at the womb center, or the parent(s) of the unborn child can take the pod to pre-approved locations. It’s mentioned that a pod can be autonomous from the womb center for a maximum of 48 hours, in case the person with the pod needs to travel.

Rachel and Alvy attend orientation and counseling sessions with other couples and mothers who are using Pegazus pregnancy pods, but the movie doesn’t present the other people in these sessions as anything but anonymous extras. It’s a huge missed opportunity for more character development. In fact, almost everyone in contact with Rachel and Alvy are anonymous and generic, with a few exceptions.

Rachel has a talkative co-worker friend named Alice (played by Vinette Robinson), who had a Pegazus pod pregnancy with her husband Josh (played by Benedict Landsbert-Noon), who is the passive one in their marriage. Alice had the most influence on Rachel wanting to have a Pegazus pod pregnancy, because Alice is constantly raving about the experience. The Pegazus pre-natal orientation and counseling sessions are led by the Pegazus womb center director Linda Wozcheck (played by Rosalie Craig), who is a perky control freak.

The founder of Pegazus (played by Jean-Marc Barr) is one of many characters in “The Pod Generation” without a name in the movie. He is shown doing a TV or video interview, where he gives off a vibe of being like a combination of a cult leader and a smarmy salesperson. He’s a smooth talker who looks like he’s accustomed to convincing a lot of people to do what he wants them to do.

He says to the interviewer (played by Troy Scully) about Pegazus’ intentions: “At Pegazus, we want fulfilled mothers. We want them to pursue their careers and dreams. Let us do the heavy lifting while you enjoy your babies. We are highly scientific. We use intuition and heart where needed.”

Of course, anyone who’s seen enough of these sci-fi cautionary tale movies will notice that this mysterious Pegazus founder used the phrase “where needed” when talking about intuition and heart. Who gets to make that decision? Rachel and Alvy are supposedly educated professionals, but they never ask a lot of basic questions that people with any common sense would ask before they signed away the pre-natal caregiving rights for their unborn child to Pegazus. And that’s why watching “The Pod Generation” becomes increasingly irritating as it goes along.

This disappointing movie goes into superficial soap opera territory when Rachel doesn’t bond with the fetus in the pod as much as she thought she would, while Alvy bonds with the fetus in the pod more than he thought he would. Rachel starts to get the feeling that the unborn child likes Alvy more than the child likes Rachel. And she’s jealous about it, which leads to more arguments between Rachel and Alvy, as well as more relationship therapy sessions with A.I. program Eliza. (Alvy never completely trusts Eliza, because she is not a human being.)

Meanwhile, Rachel sometimes attaches the pod to her stomach to make it look like a real pregnancy underneath her clothes. It leads to brief moments of her feeling connected to this pregnancy. But then, Rachel gets a harsh lesson in pregnancy body shaming when she brings the pod to her office job. She gets weird looks from co-workers during a conference room meeting when she proudly brings the pod to the meeting.

After the meeting, Alice discreetly advises Rachel (when they’re alone together in an office room) to leave the pod in the employee break room where other expectant parents are keeping their pods. Alice also suggests that from now on, Rachel should leave the pod at the Pegazus womb center until the baby is born. Rachel hates the idea because she wants to spend as much time as possible with the pod. “You don’t want to be labeled ‘the distracted mom,'” Alice warns Rachel about how their co-workers might think of Rachel.

For a movie that has a lot to say about sexism against women (especially when it comes to pregnancy and family planning), none of the characters in “The Pod Generation” gives any pushback or stands up to this sexism. This lack of resistance to sexism from anyone in “The Pod Generation” looks as fake and hollow as one of the movie’s empty pods. Perhaps writer/director Barthes wanted to make some commentary about how this supposedly “progressive” tech-oriented society of “The Pod Generation” is actually socially backwards when it comes to treatment of women and complacent in how technology has taken over their lives.

However, it isn’t the technology that is sexist. The human beings are the ones being sexist, with their cutting remarks and attitudes that aren’t controlled by technology. If “The Pod Generation” is supposed to be a commentary about women losing control of their pregnancies to technology, the movie doesn’t really prove that point either, because Rachel is given access to the pod for most of the movie. “The Pod Generation” never shows the pregnancy journey of any other women except Rachel.

The middle of “The Pod Generation” is a boring rehash of Rachel and Alvy’s marital problems. You don’t need to be a couple’s therapist to see that this pregnancy is not going to solve these problems. And “The Pod Generation” fails to convince viewers why Rachel and Alvy (who aren’t very compatible) fell in love in the first place. Clarke and Ejiofor are perfectly fine in delivering their lines of dialogue, but they don’t have believable chemistry with each other as people who are supposed to be spouses.

Perhaps the biggest letdown of “The Pod Generation” is that it’s a “bait and switch” movie. The movie keeps dropping hints—the sexism, the increasingly controlling ways of Pegazus, the intrusive assumptions of the A.I. technology—that it’s all leading to something very big and very sinister. There is a suspenseful sequence toward the end of the film, but it’s misleading, if you take into consideration how the movie ends. And for a movie that the filmmakers have labeled a “comedy,” there isn’t really anything amusing (not even in a darkly comedic way) about “The Pod Generation.” The movie comes across as technically competent, but soulless—much like the A.I. technology that “The Pod Generation” is aiming to spoof.

UPDATE: Roadside Attractions and Vertical will release “The Pod Generation” in select U.S. cinemas on August 11, 2023.

Review: ‘The Persian Version,’ starring Layla Mohammadi, Niousha Noor, Kamand Shafieisabet, Bella Warda, Chiara Stella, Bijan Daneshmand and Shervin Alenabi

February 11, 2023

by Carla Hay

Pictured in front row: Layla Mohammadi and Niousha Noor in “The Persian Version” (Photo by Andre Jaeger/Sony Pictures Classics)

“The Persian Version”

Directed by Maryam Keshavars

Some language in Persian with subtitles

Culture Representation: Taking place in New York City and in Iran, from the 1960s to the 2000s, the comedy/drama film “The Persian Version” features a predominantly Asian cast of characters (with some white people) representing the working-class and middle-class.

Culture Clash: A free-spirited queer woman, who feels like a misfit in her mostly male family that’s headed by conservative Iranian immigrant parents, comes to terms with her identity and how her parents’ past had an effect on the family.

Culture Audience: “The Persian Version” will primarily appeal to people interested in movies about immigrant experiences and intergenerational relationships of family members.

Bijan Daneshmand (seated third from left), Niousha Noor (seated third from right) and Chiara Stella (seated second from right) in “The Persian Version” (Photo by Yiget Eken/Sony Pictures Classics)

Most of “The Persian Version” is a sharp and witty tale of an Iranian American woman navigating two ethnicities and her family issues. The movie’s last 20 minutes resemble a formulaic TV sitcom. It doesn’t ruin the movie, but it lowers the movie’s quality. Even with its flaws, “The Persian Version” is a unique and vibrant story that shows perspectives that are rarely seen in American-made feature films.

Written and directed by Maryam Keshavars, “The Persian Version” is a comedy/drama inspired by Keshavars’ real-life experiences as the lesbian child of Iranian parents who immigrated to the United States in the late 1960s. “The Persian Version” had its world premiere at the 2023 Sundance Film Festival, where it won two prizes: the Audience Award for U.S. Dramatic Feature and the Waldo Salt Screenwriting Award. The movie features frequent voiceover narration from the movie’s fast-talking and sarcastic protagonist named Leila Jamshidpour (played by Layla Mohammadi), who is in her 30s when the movie begins in New York City in the 2000s.

“The Persian Version” also has several flashbacks throughout the story, going all the way back to the early 1960s, when Leila’s parents were living in Iran. The family moved to the United States in 1967. The Iranian Revolution (also known as Islamic Revolution) began in 1977, and ended in 1979, with the overthrow of the Pahlavi dynasty. It ushered in a new era of Iran being a republic but also increased Iran’s political tensions with the U.S., especially when 52 Americans were held as hostages for two months, beginning in November 1979.

The opening scene of “The Persian Version” takes place shortly after Leila has won the prize for Best Costume at a Halloween party, for wearing a burka-bikini combination costume dressed as a fictional character named Miss Burkatini. While still in costume, Leila is hooking up in a bedroom with a British man dressed as transgender female singer Hedwig from the award-winning musical “Hedwig and the Angry Inch.” The name of Leila’s sex partner is Maximillian Balthazar (played by Tom Byrne), who identifies as a cisgender heterosexual male. Maximilian is dressed in this costume because he’s an actor, and this is the costume he wears as the star of the Broadway production of “Hedwig and the Angry Inch.”

Viewers soon learn that Leila identifies as a queer woman who is mainly attracted to other cisgender women. What is she doing hooking up with Maximillian? She says that men who look like drag queens “turn her on.” She’s also very drunk and horny at the moment. Leila expects that this sexual encounter with Maximilian will be a one-night stand and that they probably won’t see each other again. She’ll find out later that she was wrong about this assumption.

During this hookup, Leila looks up and speaks directly to the camera, as she frequently does throughout the movie. She then gives a monologue which is a quick summary of her life so far, accompanied by a montage of flashbacks. This intriguing monologue will hook viewers right away to find out more about Leila.

In this opening monologue, Leila says: “Obviously, I have some issues with culture. But can you blame me? I come from two countries [Iran and the United States] that used to be madly in love with each other. And like every great romance, it ended in a bitter divorce.

Leila continues, “Like a child of divorce, I was right in the middle, being pulled at it from both sides. Being a girl, I couldn’t be drafted into the Iranian military. So, I was the only child in my family who could travel between the two countries—these two parents who wanted each other dead: Iran and America.”

Leila adds, “I never fit in anywhere. Unresolved childhood trauma: Clearly this neurosis led me to become a writer. Free therapy. Writers and neurosis: What’s more New York than that?” It’s mentioned shortly thereafter that Leila is also an independent filmmaker.

The movie then shows Leila describing her immediate family members. Her retired obstetrician/gynecologist father Ali Reza (played by Bijan Daneshmand) and her mother Shirin (played by Niousha Noor), who is a powerhouse real-estate agent, are strict Muslims who have conservative views of how people should conduct their personal lives. Leila has a particularly rocky relationship with Shirin, who seems to think that Leila is a wayward child who always manages to cause problems for herself.

Leila, who calls herself the “outsider of the family,” has eight brothers. She describes each of them in a few words. Shivaz (played by Samuel Tehrani), the eldest child, is the “disco king.” Vahid (played by Parsa Kaffash) is the “troublemaker.” Majid (played by Arty Froushan), who is a medical doctor, is like “JFK Jr., minus the plane crash.” Hamid (played by Reza Diako) is the “brainiac.” Eman Zaman (played by Andrew Malik) is the “Goth.” Rostam (played by Kamyab Falahati) is the “hippie.” Zal (played by Mahdi Tahmasebi) is the “greaser.” Abbas (played by Jerry Habibi) is the “metrosexual.”

Leila is one of the people in her family who has dual citizenship with Iran and the United States and was educated in both countries as a child in the 1980s. (Chiara Stella portrays Leila at about 10 or 11 years old.) “In America, I learned to put my faith in science. In Iran, I learned to put my faith in politics,” says the child Leila. As an adult, Leila is shown saying, “The only way to survive was to not put my faith in any of the rules—not science, not politics.”

The child Leila then says, “The only thing I could put my faith in was art,” as she holds a Cyndi Lauper cassette tape. Leila then explains that because Western music was banned in Iran, she would smuggle in music by artists such as Cyndi Lauper and Prince. Leila, previously an outcast at her Iranian school, became popular with her classmates when she let them listen to the smuggled music. Lauper’s 1983 breakthrough hit “Girls Just Want to Have Fun” is used in pivotal parts of the movie.

When the Jamshidpour family first moved to the United States, they lived in Brooklyn, New York. Ali Reza and Shirin currently live in New Jersey, while all of their children still live in the New York/New Jersey metropolitan area. Shirin’s kind and patient mother Mamanjoon (played by Bella Warda) lives with Ali Reza and Shirin. Although this tight-knit clan has had its ups and downs, Leila says she always felt she was treated differently because she is her parents’ only daughter.

Leila’s sexuality has also led to feelings of alienation from her parents (especially her mother), who do not approve of Leila being queer/not heterosexual. Leila is still recovering from a divorce from her ex-wife Elena (played by Mia Foo), who happens to be in a Brooklyn drugstore at the same time as Leila, several months after their divorce. Elena and Leila exchange awkward hellos.

Leila has been holding on to a glimmer of hope that she and Elena will get back together. However, that hope is crushed when Elena tactfully tells Leila to pick up the belongings that she left behind at the home they used to share. Elena also asks Leila to stop calling her and to move on with her life. The reason for their divorce is explained later in the story (Leila frequently put her work above the marriage), but the details are still left purposely vague about other aspects of this relationship.

In addition to feeling heartbroken, Leila will also be dealing with a health crisis in the family. Her father Ali Reza needs a heart transplant, and he doesn’t have enough health insurance to cover all the costs. Because he isn’t a U.S. citizen, Ali Reza is not eligible for full Medicare benefits. (And remember, this is in the 2000s, before the Affordable Care Act/Obamacare existed.) Ali Reza’s most recent hospital bill is $200,000. Shirin is feeling a lot of stress and pressure over how to pay this bill. She’s too proud to ask her children for any financial help.

In the midst of all this family turmoil, Leila is feeling like a failure and a lost soul. Leila always felt closer to her father than to her mother. And the possibility of losing him is overwhelming to her. But then, one day, Leila has a conversation with her beloved grandmother Mamanjoon that will change Leila’s perspectives of her parents, herself and their family history.

“The Persian Version” gets its title from the fact that the Jamshidpour family has two versions of their family history: the American version and the Persian version. The movie skillfully and often candidly shows how immigrant families often have to present two different versions of themselves, in order to survive and assimilate in a new country. Most immigrants move to a new country for a chance at a new life, which often means reinvention. But that doesn’t mean that the past can be completely forgotten, because the past often shapes who people are and how they look at life.

What starts off looking like a movie about a sassy but admittedly flaky divorced filmmaker trying to get her life back on track turns into an emotionally moving story about developing a deeper understanding of family members and what they might have gone through in the past that affects how they interact with family members in the present. Mamanjoon tells stories that are shown in flashbacks, back to the early years of Ali Reza and Shirin’s marriage. Shervin Alenabi has the role of young Ali Reza. Kamand Shafieisabet has the role of young Shirin. Sachli Gholamalizad portrays young Mamanjoon.

A big change unexpectedly happens in Leila’s life, but the movie somewhat mishandles this big change by bringing some wacky sitcom elements to the story that don’t quite fit with the more realistic aspects of the movie. Fortunately, “The Persian Version” has very good acting from all of the cast members, with Mohammadi and Noor as the obvious standouts in portraying Leila and Shirin, who have a tension-filled love/hate relationship.

“The Persian Version” also beautifully shows how three generations of women in a family can connect despite their differences. Leila is on mostly good terms with her brothers (she is especially close to “metrosexual” Abbas), but viewers of this movie will most remember the relationships that Leila has with Shirin and Mamanjoon. “The Persian Version” is the type of charming movie that not only celebrates the multicultural heritages of immigrant families but also has universal relatability that can resonate with people of many different backgrounds and generations.

Sony Pictures Classics will release “The Persian Version” in select U.S. cinemas on October 20, 2023.

Review: ‘Maybe I Do,’ starring Diane Keaton, Richard Gere, Susan Sarandon, Emma Roberts, Luke Bracey and William H. Macy

February 5, 2023

by Carla Hay

Richard Gere, Diane Keaton, William H. Macy and Susan Sarandon in “Maybe I Do” (Photo courtesy of Vertical Entertainment)

“Maybe I Do”

Directed by Michael Jacobs

Culture Representation: Taking place in New York City, the comedy/drama film “Maybe I Do” features a predominantly white cast of characters (with a few African Americans and Latin people) representing the working-class and middle-class.

Culture Clash: A young woman pressures her boyfriend to propose marriage to her, while their married parents have extramarital encounters with each other. 

Culture Audience: “Maybe I Do” will appeal primarily to people who are fans of the movie’s headlining stars and don’t mind watching all this talent wasted in a dull and unimaginative movie.

Susan Sarandon, Emma Roberts and Luke Bracey in “Maybe I Do” (Photo courtesy of Vertical Entertainment)

“Maybe I Do” should be titled “Maybe You Don’t Want to Watch This Slow-Moving Train Wreck That’s a Waste of Time and Talent.” Everything about the dreadfully boring romantic dramedy “Maybe I Do” looks forced, fake and awkward. The principal cast members just recite their awful dialogue (often stiffly) and never look convincing as couples. And there’s nothing romantic at all about this movie, unless you think it’s romantic to watch people in miserable marriages and a constantly whining woman threatening to break up with her boyfriend unless he proposes marriage to her. That’s essentially what viewers will see for about 80% of “Maybe I Do,” which has too much mindless repetition and not enough character development.

Written and directed by Michael Jacobs, “Maybe I Do” is based on a play that Jacobs wrote. The movie had the potential to be a witty look at an unlikely but not entirely impossible situation: Two unhappily married couples, who are strangers to each other, step outside their respective marriages by spending intimate time with the other couple’s spouses. Unbeknownst to these four spouses, one of the couple’s son is dating the other couple’s daughter. And when all six of them meet each other for the first time, it becomes a landmine of secrets, lies and pent-up resentment that could potentially destroy relationships.

This entire concept is already revealed in the trailer for “Maybe I Do,” which takes an excruciatingly long time to get to the very disappointing moment when the four spouses and their two children are in the same room together for the first time. Until then, “Maybe I Do” drags on and on with cringeworthy, unrealistic dialogue and painfully unfunny scenarios. Most of the principal cast members look like they have no emotional investment in their characters and only showed up for this movie for their salaries. Whatever they were paid for “Maybe I Do,” it wasn’t worth the embarrassment of being in this flop that most viewers will forget soon after seeing it.

“Maybe I Do” (which takes place in New York City, but the movie was actually filmed in New Jersey) begins by showing a sensitive sad sack named Sam (played by William H. Macy) , who is crying while watching a romantic movie in a nearly empty movie theater. Sam is by himself and has a quirk of putting candy, such as M&Ms and red licorice, on his popcorn to eat with the popcorn. (Don’t ask why, because the movie never bothers explaining this quirk.) Also in the movie theater is Grace (played by Diane Keaton), who sitting nearby and is also by herself. Sam and Grace are in their 70s.

Grace notices that Sam is crying, so she goes over to this stranger to comfort him. Grace strikes up a conversation with him in this theater (and apparently not caring that it’s very rude to talk in a movie theater when the movie is playing), and she finds out that they are both “distressed” and like to go to movies alone. It’s the first of many eye-rolling scenes in “Maybe I Do,” which is polluted with overly contrived scenarios that look very phony.

The next time Grace and Sam are seen together a few scenes later, it’s the same day that they’ve met. At this point, Sam and Grace have decided they’re going to spend some time together in a motel room, after changing their minds about it once. Sam says he just wants to “talk” in the motel room, and Grace nervously agrees.

They both know that they are unhappily married to other people. It’s an example of the movie’s sloppy writing and terrible editing to not show the conversation that Sam and Grace had about their marriages before they decided to get a motel room together. As far as viewers can see, one minute Sam and Grace have met. The next minute, Sam and Grace are getting a motel room together and feeling guilty about it. Viewers eventually find out if anything sexual happens between Sam and Grace in that motel room.

In the motel room, Grace and Sam sit on a bed together and turn on the TV. And what do you know: Porn just happens to be playing on the channel at that very moment. Grace, who is uptight and very sheltered, looks at the sex scene on TV, and she comments to Sam with amazement: “That’s how they do that?”

Grace and Sam eventually turn off the TV because what they’re watching is making them uncomfortable, as if they couldn’t possibly turn the channel and watch something else. It’s supposed to be a funny moment in the movie, but it just makes Grace look pathetic that she’s willfully ignorant about sex at this point in her married life. It should come as no surprise to viewers that Grace’s husband is cheating on her.

Grace’s husband is brash and arrogant Howard (played by Richard Gere), who is having a secret affair with materialistic and demanding Monica (played by Susan Sarandon), who is married to Sam. Howard and Monica are first seen in “Maybe I Do” while they are in a hotel bedroom, where Monica is trying to get sexually intimate with Howard, but he’s not interested. In fact, Howard wants to end this affair with Monica, but she still wants the affair to continue.

Here are some examples of the dull and trite lines of dialogue that Howard utters during this tryst with Monica: “Are we living our best lives? And also, what are we doing here?” The stars of “Maybe I Do” probably thought the same things while making this obvious dud of a movie.

Later, Howard says to Monica: “This is about leading the lives we have, to have the lives we deserve. It’s incredible to me you’ve been able to turn a one-night stand into something that it’s taken me four months to get out of.”

Monica gets upset when Howard tells her that he wants to end this four-month affair. She angrily tells him, “You walk out that door, and I’m going to figure out a way to get you back. I’m going to hurt you. I’m going to push that button, and you’re going to cease to exist.” Who talks that way? Only someone in a horribly written movie, or someone who thinks the world works like an episode of “The Twilight Zone.”

Meanwhile, the movie eventually reveals that Howard and Grace have a daughter named Michelle (played by Emma Roberts), while Sam and Monica have a son named Allen (played by Luke Bracey), who are having their own relationship problems. Michelle and Allen, who are in their early 30s, have been dating each other for a period of time that is never detailed in the movie.

However, they’ve been dating long enough for Michelle (who is very pouty and very bratty) to feel like her relationship with Allen needs to become a marriage. Allen (who is very laid-back and very bland) is in no rush to get married and likes the relationship exactly as it is now. Michelle issues an ultimatum to Allen: Tell her that he wants them to eventually get married, or she will break up with him.

This ultimatum comes after Michelle and Allen attend the wedding of Michelle’s best friend Sophia (played by Natalie Ortega), because this wedding triggers Michelle even more into wanting to get married. Michelle and Allen have a big argument during and after the wedding because of a stunt that Allen pulled at the ceremony. During the part of the ceremony where the bride throws her bouquet to the single women gathered to catch the bouquet (and whoever catches the bouquet is supposed to be the next one in the group to get married), Allen impulsively jumps above the women and catches the bouquet himself.

Why? Because he knew that Michelle was expecting to catch the bouquet, and he didn’t want her to use it as an excuse to pressure him to get married. Allen’s stupid plan backfires, because Michelle gets so angry at this stunt (which she calls the “most humiliating” experience of her life), she refuses to let Allen touch her until he decides if their relationship will lead to marriage.

And she gives him one day to decide. This is how she moronically gives this deadline: “This is my heart. This is my mind. All of it can be yours if you call within the next 24 hours. Operators are standing by.” Again: Who talks like that? And who would want to be married to someone who talks like that?

There’s a slightly misogynistic tone to “Maybe I Do,” which portrays all three women as mostly to blame for why the men feel miserable and trapped in these couple relationships. And they are some of the worst negative stereotypes for women: Michelle is a nagging shrew. Grace is a judgmental prude. Monica is a selfish manipulator.

Sam is portrayed as the most sympathetic person of the six main characters, because he is starved for love and affection but is constantly rejected by Monica. Sam laments to Grace that Monica “hates him,” and he’s grown to “hate” Monica too. The movie makes it look like Sam has been trying to make his marriage work with Monica, but she has been cruelly dismissive to Sam. Meanwhile, “Maybe I Do” makes it abundantly clear that Grace’s hangups about sex are what probably drove Howard to cheat on her.

“Maybe I Do” writer/director Jacobs could have done so many more interesting things with these characters, but he resorts to using lazy stereotypes of characters that these principal cast members have played versions of before in many other movies. Having two Oscar winners (Keaton and Sarandon) in the movie’s cast doesn’t mean much when they are further typecast in hollow roles. Jacobs, who created the TV comedy series “Boy Meets World” (which was on the air from 1993 to 2000), brings a stale sitcom tone to the movie, including have a corny musical score that’s sounds like it came from an outdated sitcom. In other words, don’t expect anything new, fresh and exciting in “Maybe I Do,” which clumsily lumbers along until its very predictable and uninspired end.

Vertical Entertainment released “Maybe I Do” in U.S. cinemas on January 27, 2023. The movie will be released on digital and VOD on February 14, 2023.

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