Melvin Gregg, Grace Byers, Antoinette Robertson, Sinqua Walls, Jermaine Fowler, Dewayne Perkins and X Mayo in “The Blackening” (Photo by Glen Wilson/Lionsgate)
Culture Representation: Taking place in the Los Angeles area, the horror comedy film “The Blackening” features a predominantly African American cast of characters (with some white people) representing the working-class and middle-class.
Culture Clash: Nine people gather at remote house in the woods for a Juneteenth weekend and are targeted by a serial killer or serial killers demanding that the house guests answer questions about African American history and pop culture in a bizarre, race-baiting board game.
Culture Audience: “The Blackening” will appeal primarily to people who want to watch a frequently boring comedy full of racist jokes that are corny and stupid.
Yvonne Orji and Jay Pharaoh in “The Blackening” (Photo by Glen Wilson/Lionsgate)
“The Blackening” tries very hard to combine the parody of “Scary Movie” and the social commentary of “Get Out,” but the results are mostly cringeworthy, unimaginative and not very funny. The ending of the movie also drags and has no suspense. Worst of all, the so-called “jokes” sound like they would’ve been rejected from a Wayans Brothers movie in the 1990s. “The Blackening” filmmakers tried to make this dreadfully empty movie look more “modern” by adding in some social media references as part of the plot, but it’s all just a smokescreen for this disappointingly lackluster and stale film. “The Blackening” had its world premiere at the 2022 Toronto International Film Festival and its U.S. premiere at the 2023 Tribeca Festival.
Directed by Tim Story, “The Blackening” was written by Tracy Oliver and Dewayne Perkins, who is one of the co-stars of the film. It should come as no surprise that Perkins wrote the most well-rounded and most believable character for himself in the movie. All of the other characters in “The Blackening” are hollow stereotypes. And that might be acceptable if most of the scenes “The Blackening” were genuinely funny.
Unfortunately, the movie is just one flat soundbite after another, which usually has one of these three themes: (1) the characters comment on or react to white supremacist racism; (2) the African American characters try to prove who’s the most “authentic” in being black; (3) relationship tensions involving mistrust.
“The Blackening” (which was filmed on location in the Los Angeles area) focuses on nine African American friends who have gathered for a getaway at an Airbnb rental house in a remote wooded area for Juneteenth weekend. Morgan (played by Yvonne Orji) and Shawn (played by Jay Pharoah) have arrived ahead of their friends at this house. Inside the house, Morgan and Shawn find an unusual-looking board game called The Blackening that has a racially offensive Sambo face at the center of the board.
Morgan and Shawn start playing the game when the Sambo face begins talking and says that they have to answer trivia questions about black people in history and pop culture. If Morgan and Shawn get any of the answers wrong, then they will die. The Sambo face starts cackling menacingly. None of it is really scary, of course, and the board game looks completely phony and amateurish, like an art project that a child could have made.
An example of a trivia question that Morgan and Shawn get is to name a black character from a horror movie who didn’t die first in the movie. It’s “The Blackening’s” way of poking fun at the cliché that the first person to die in a horror movie is a black person. “The Blackening” over-uses this “joke” to the point where it becomes obvious that the writers ran out of ideas. At any rate, something bad happens to Morgan and Shawn. Morgan and Shawn have gone missing by the time the other seven people arrive at the house.
The other seven people on this getaway trip are neurotic attorney Tracy (played by Antoinette Robertson); her sassy gay best friend Dewayne (played by Perkins); Tracy’s smooth-talking ex-boyfriend Nnamdi (played by Sinqua Walls); crude loudmouth Shanika (played by X Mayo); spoiled diva Allison (played by Grace Byers); laid-back stoner King (played by Melvin Gregg); and socially awkward misfit Clifton (played by Jermaine Fowler), who’s not really a friend, but he says he got a last-minute invitation from Morgan.
During Shanika’s road trip to the house in the woods, Shanika actually meets Clifton at a gas station convenience store, where they debate over which type of phone is better: an Android (Clifton’s preference) or an iPhone (Shanika’s preference). It’s just one of many examples of how the movie’s ideas are often painfully dull and lack creativity in time-wasting dialogue.
“The Blackening” also has the predictable depictions of racially charged encounters with white people being openly hostile to the black travelers. A convenience store clerk (played by James Preston Rogers) gives a hateful stare to Shanika while she’s a customer in the store. A white park ranger with the last name White (played by Diedrich Bader) stops the car that Tracy is driving with Dewayne, Allison and King as passengers. This detainment is for no other reason than Park Ranger White isn’t used to seeing black people in this area, and Tracy has to show proof that she has a legitimate rental for the house.
It’s not long before the seven people are all gathered in the house and find The Blackening game and are subjected to answering a barrage of African-American oriented questions. The disappearance of Morgan and Shawn is often forgotten as the seven house guests get caught up in playing this game. Just like Morgan and Shawn, the seven house guests are threatened with death if they get any of the questions wrong. Some of the questions include “Who is Sojourner Truth?” Viewers might be asking themselves, “Is this a horror comedy or a history test?”
One of the questions asked is: “Name five black people who were in ‘Friends.'” The Sambo face answers that question itself by saying, “I don’t know. I don’t watch that show. I watched ‘Living Single.'” It’s a very outdated joke that would have worked better in the mid-to-late 1990s, when both of those shows were on the air.
“The Blackening” takes a while to get to any real horror in the story. Instead, the movie stretches out its very thin plot with some backstory information on some of the characters. All of these backstories involve a lot of bitterness. Tracy and Nnamdi had a bitter breakup because he cheated on her. Tracy is bitter because Nnamdi has a new girlfriend. Nnamdi is bitter because Tracy was the one who broke up with him.
Dewayne is bitter because he thinks Tracy takes their friendship for granted and only seems to need him after she’s broken up with a boyfriend. Shanika is bitter about being discriminated against for being for a large-sized black woman, even though she lacks self-awareness that her obnoxious attitude is really her problem. Allison is bitter because she’s biracial and always feels that she has to prove to her black friends that she’s “black enough.” King is bitter because he feels he’s misjudged for being married to a white woman, who is never seen or heard in this movie.
“The Blackening” is obviously not meant to be taken seriously. But the movie has so many missed opportunities where it could have been funnier. The friends have a debate about “who’s the blackest person in the group,” in terms of attitude, not physical appearance. This debate drones on and on until it loses its intended impact.
When nerdy Clifton blurts out that he voted for Donald Trump twice and says that “Beyoncé’s Super Bowl performance made me feel unsafe,” the other people in the group are horrified and immediately question if Clifton is really black. This type of racial stereotyping for comedy could have been handled in a wittier way. Instead, it just lazily rehashes jokes that have been done in one form or another in a lot of stand-up comedian routines.
The action scenes in “The Blackening” are poorly staged and insult viewers’ intelligence. The acting performances range from mediocre to irritating. And the answer to the mystery of who the killer is could have been intentionally obvious, but it still drains a lot of the intrigue that “The Blackening” could have had.
“The Blackening” is the type of low-quality movie that is neither great nor the worst of the worst. As far as race-based comedies go, it has nothing new or interesting to say about African American culture or race relations. “The Blackening” just sinks into a cinematic version of noxious quicksand, where weak and unremarkable movies go and are quickly forgotten.
Lionsgate will release “The Blackening” in U.S. cinemas on June 16, 2023.
Some language in Cantonese, Mandarin and Korean with subtitles
Culture Representation: Taking place primarily in Hong Kong, the documentary film “Enter the Clones of Bruce” features a predominantly Asian group of people (with some white people and one African American) discussing how the legacy of martial-arts actor Bruce Lee spawned imitators and a low-budget action films that have some connection to Lee’s history and persona.
Culture Clash: Many actors who became known as Bruce Lee knockoffs experienced exploitation and typecasting.
Culture Audience: “Enter the Clones of Bruce” will appeal primarily to people who are fans of Lee and action movies inspired by him.
Dragon Lee (pictured at left) in “Enter the Clones of Bruce” (Photo courtesy of Severin Films)
“Enter the Clones of Bruce” is a breezy and fascinating deep dive into Bruce Lee-inspired movies and actors who tried to continue the legacy of Lee after his tragic death. The movie’s commentary is superb and includes some people who rarely give interviews. Martial-arts star Lee died of a cerebral edema in 1973. He was 32 years old. This documentary explores how far-reaching his influence was by showing how Bruce Lee imitators and ripoffs flooded the movie industry after his death.
Directed by David Gregory, “Enter the Clones of Bruce” had its world premiere at the 2023 Tribeca Festival. The documentary shows how the enduring popularity of Lee helped fuel a renaissance of Hong Kong-based filmmaking in the 1970s and 1980s. Shaw Brothers Studio, a Hong Kong-based film company that existed from 1925 to 2011, is mentioned frequently in the documentary as the biggest generator of Bruce Lee imitation movies. Although Lee was an American who was born in San Francisco, his parents were from Hong Kong, and they raised him there shortly after he was born. He maintained homes and had dual citizenship in the U.S. and Hong Kong.
Lee’s breakthrough to international audiences was co-starring as Kato in the American superhero TV series “The Green Hornet,” from 1966 to 1967. Movie stardom soon followed. Lee’s best-known films are 1971’s “The Big Boss,” 1972’s “Fist of Fury,” 1972’s “The Way of the Dragon” and 1973’s “Enter the Dragon,” which remains his biggest hit movie. Lee died six days before “Enter the Dragon” was released on July 26, 1973.
“Enter the Clones of Bruce” makes a case in proving that Lee’s sudden and unexpected death left a void that others rushed to fill in the 1970 and 1980s. The overall mindset was that people believed Lee would have soared to even greater movie-star heights if he had lived. Why not make the types of movies that he would have made if he had been alive? In addition to action flicks with fictional Bruce Lee-inspired characters, there were numerous sequels, prequels and spinoffs to biopics about Lee.
The documentary doesn’t sugarcoat that most of the imitation Bruce Lee movies and imitation Bruce Lee actors were fueled by greed. In the documentary and elsewhere, it’s called Bruceploitation. But many of those involved in Bruceploitation also had genuine admiration for Lee and wanted to continue his legacy in some way. A lot of Bruceploitation merchandise came out of this era, but “Enter the Clones of Bruce” focuses mainly on the Bruceploitation movies and the people who made them.
One of the best aspects of “Enter the Clones of Bruce” is how the movie has an impressive array of interviews with people who were involved with or are experts in Bruceploitation. It’s obvious that the documentary filmmakers took a lot of time and care in tracking down many of these people, in order to make the documentary as complete as possible. Although this low-budget movie’s film editing and other production values are little rough around the edges, the documentary’s research is impeccable, while the narrative is easy to understand.
Almost all of the best-known Bruce Lee-inspired, low-budget actors from the 1970s and 1980s are interviewed in the documentary. Bruce Li (real name Ho Chung-tao), who is originally from Taiwan, comments in the documentary about his Bruce Lee-like persona: “It was really a gimmick.” Li starred in movies such as 1975’s “Dragon Dies Hard” and 1976’s “Bruce Lee: The True Story,” also known as “Bruce Lee: The Man, The Myth.” In the documentary, actor/writer Eric Tseng says that Li was good at what he did, but Li’s career would have been better if he hadn’t been typecast as a Bruce Lee imitator. Li says in the documentary that he didn’t think he ever really looked like Bruce Lee.
Dragon Lee (real name: Moon Kyung-seok), also known as Moon Lee, is a native of South Korea. Just like Li, Dragon Lee relocated to Hong Kong for his Bruceploitation career. Dragon Lee says that he met with Bruce Lee’s widow Linda to consult with her about how to portray Bruce. Dragon Lee also says that Bruce Lee’s signature move of thumbing his nose mainly came from a need to wipe sweat from his face. Dragon Lee’s Bruceploitation movies include 1976’s “The Real Bruce Lee,” 1978’s “Enter Three Dragons” and 1981’s “The Clones of Bruce Lee.”
Bruce Le, whose heritage is Chinese, grew up in Macau as a refugee from Burma. He moved to Hong Kong for the Bruce Lee phase of his career. Le, who was a contract player for Shaw Brothers, says of movie producer Bruce Randall, who was behind many Bruceploitation films: “He was like my godfather.” Le’s film credits include 1976’s “Bruce’s Deadly Fingers,” 1977’s “Return of Bruce” and 1977’s “Bruce and the Shaolin Bronzemen.” In archival footage from a TV talk show interview, Le is shown making the far-fetched claim that he drinks snake blood to stay strong.
“Enter the Clones of Bruce” also includes interviews with two martial-arts actors whose careers flourished because of Bruce Lee’s legacy but who aren’t Asian men: Angela Mao, who retired from acting in the 1990s, was considered the “first lady of kung fu” during her heyday movie career. In a rare interview for a documentary, Mao says of how Bruce Lee impacted her life: “I’m very grateful to him.” Meanwhile, Ron Van Clief (who is African American) tells the story in his documentary about how Bruce Lee was the one who gave Van Clief the nickname the Black Dragon.
Other actors interviewed in the documentary include Bruce Liang, Sammo Hung, Lo Meng, Casanova Wong, Eric Tseng, Caryn Wade, David Chiang, Long Ko, Roy Wade, Yasuaki Kurata, Phillip Ko and Mars. Bolo Yeung (also known as Yeung Sze), who is from Hong Kong, is described in the documentary as the actor who did more Bruceploitation movies than anyone else. Yeung isn’t interviewed in the documentary, but his son David Yeung has a short interview clip in the film.
Experts interviewed in “Enter the Clones of Bruce” include Mike Leeder, a Hong Kong expert who has some of the most insightful commentary in the film; Valerie Sou, professor of Asian studies at San Francisco State University; “Bruceploitation Bible” author Michael Worth; and “Fists of Bruce Lee” author Stephen Nogues. Nogues is from France, which is mentioned along with the United States, as the biggest markets for Bruceploitation outside of Asia.
It’s mentioned that many of the Bruceploitation actors were exploited themselves by having to work extremely long hours in non-union jobs, often while injured. Several of the Bruceploitation actors interviewed in the film say that the contracts they signed did not include getting royalties from the movies that they made. In other words, if people got rich from these Bruceploitation films, they weren’t the actors who starred in these movies.
Jackie Chan is mentioned as a next-generation beneficiary of Bruce Lee’s legacy. Unlike the Bruceploitation actors, who portrayed skilled action characters in all of their movies, Chan created an action-hero persona where his character often bumbled his way through fights that he lost until the very end when his character would emerge victorious. As for other action stars directly influenced by Bruce Lee, there is curiously no mention in the documentary of Chuck Norris, whose work with Bruce Lee kickstarted Norris’ career.
The filmmakers interviewed in the documentary include director Godfrey Ho, director Lee Chiu and producer Andre Morgan. Morgan is formerly an executive with Golden Harvest Films (now known as Orange Sky Golden Harvest Films), a company that co-produced several Bruce Lee films, including “Enter the Dragon” and 1978’s controversial “Game of Death.” The movie was controversial because it promised more than it delivered in unreleased Bruce Lee footage. In “Enter the Clones of Bruce,” Morgan doesn’t deny how disappointing “Game of Death” is to many Bruce Lee fans, but Morgan makes no apologies for it either.
There are two different versions of “Game of Death,” both of which cobbled together unreleased footage (about 15 minutes) of Bruce Lee and substituted other actors in scenes that were supposed to have the Billy Lo character portrayed by Bruce Lee. The quality of the filmmaking in “Game of Death” is so low, a cardboard cutout of Bruce Lee’s face was used over another actor’s real face in one of the scenes. Many scenes were badly lit and had terrible film editing. Numerous fans have complained that “Game of Death” is an insult to Bruce Lee instead of it being the fitting tribute to Bruce Lee that it should have been.
Morgan insists in the documentary that there is no hidden Bruce Lee movie footage anywhere that could be released in another movie. Based on everything shown in this documentary, if any of that footage existed, then it would have been exploited and re-exploited years ago. Although there’s no secret treasure trove of Bruce Lee archival movie footage, “Enter the Clones of Bruce” is a gem of a documentary for any fans of Bruce Lee and martial arts films.
UPDATE: Severin Films will release “Enter the Clones of Bruce” in select U.S. cinemas with a tour that begins in Los Angeles on April 12, 2024. The movie will be released on digital and VOD on April 30, 2024, and on Blu-ray on May 21, 2024.
Culture Representation: The documentary film “Milli Vanilli” has a group of black people and white people, mostly with ties to the music industry, discussing pop duo Milli Vanilli, whose career peaked in 1989 and 1990, before the duo was exposed for not singing any of the songs on Milli Vanilli’s blockbuster debut album.
Culture Clash: Milli Vanilli members Rob Pilatus (from Germany) and Fab Morvan (from France) say that they were exploited by German music producer Frank Farian, who came up with the idea for this fraud.
Culture Audience: “Milli Vanilli” will appeal primarily to people who used to be fans of Milli Vanilli and anyone who wants to watch a documentary about how the music industry was in the late 1980s and early 1990s.
Fab Morvan in “Milli Vanilli” (Photo by Luke Korem/Paramount+)
“Milli Vanilli” is a riveting, must-see documentary that goes deeper than any “Behind the Music” episode because it exposes the exploitation behind the scandal. Music producer Frank Farian, the story’s chief villain, is absent, but the damage he caused is on full display. The movie is a scathing indictment of not just Farian but also other people behind the scenes who knew that Milli Vanilli was a fraud but went along with it because they were personally profiting off of this fraud. Some of those people are interviewed in the documentary, which had its world premiere at the 2023 Tribeca Festival.
Even though former Milli Vanilli member Fabrice “Fab” Morvan has told his story in interviews many times since Milli Vanilli was disgraced in 1990, the documentary allows Morvan to have more of a voice than previous Milli Vanilli documentaries. Rob Pilatus, the other member of Milli Vanilli, died in 1998, of an overdose of alcohol and prescription medication, after years of battling substance abuse. Pilatus’ year of birth has been disputed, but he was believed to be 32 or 33 when he died.
Directed by Luke Korem, the “Milli Vanilli” documentary fills in some of the blanks that were noticeable in VH1’s “Behind the Music” episode on Milli Vanilli, the artist profiled in the very first “Behind the Music” episode in 1997. Pilatus was still alive and participated in that “Behind the Music” episode, but there were some unanswered questions in the “Behind the Music” episode that the “Milli Vanilli” documentary mostly answers, such as record company involvement in covering up the scam. (MTV Entertainment Studios, the production company behind the Milli Vanilli documentary, is owned by Paramount, which also owns VH1.)
Morvan (who was born in 1966 in Paris) says he wanted to be a singer and a dancer from an early age. He describes his childhood as being an “abusive environment.” Morvan adds, “So, I ran away.” Morvan met Pilatus at a dance seminar at a club in Munich, Germany. The two immediately bonded over similar backgrounds and shared goals.
Morvan says of Pilatus, “Just like me, he was looking for family.” Pilatus, who was biracial, was adopted by a white family in Germany. His white biological mother was a stripper, while his black biological father is unknown.
In the documentary, the story is retold about how Morvan and Pilatus, both struggling and desperate, met German producer Farian in 1988. Morvan had relocated to Germany by then, and he and Pilatus were getting small gigs as DJs and dancers. Pilatus also worked as a model. At the time, Morvan and Pilatus were part of a short-lived trio called Empire Bizarre, whose other member was a woman named Charliene. Morvan says that he and Pilatus were living together in poverty and were close like brothers.
Farian’s main claim to fame at the time was Boney M, a pop/R&B group that had a string of hits (mostly in Europe) in the late 1970s and early 1980s, such as “Daddy Cool,” “Ma Baker,” “Belfast,” “Sunny,” “Rasputin,” “Mary’s Boy Child/Oh My Lord” and “Rivers of Babylon.” Just like Milli Vanilli, Boney M was later exposed to be a group that had other people recording the vocals on the songs.
Morvan and Pilatus had been getting some local publicity in Germany, which is how Farian heard about them. Farian invited them to his recording studio in Frankfurt, Germany. Pilatus and Morvan recorded a demo with Farian, who dictated what his vision for them would be. He said that we would sign them and give them all the funds that they needed to launch a music career but they could not sing on their first album.
After Milli Vanilli was exposed as a singing fraud, Morvan and Pilatus (when he was alive) repeatedly said in interviews that at the time they signed the contract with Farian, he had promised them that they could sing on Milli Vanilli’s second album, but Farian reneged on that promise. This dispute ultimately led to the downfall of Milli Vanilli. Morvan and Pilatus said that before they became famous and had signed with Farian, they had regrets about the contract and tried to back out of it, but Farian threatened to sue them for all the money he had already invested in them.
Milli Vanilli’s rapid rise to success is a well-known story that is repeated here. Milli Vanilli’s 1989 debut album, “Girl You Know It’s True,” was an instant smash, first in Europe (where the album was released in 1988, under the title “All or Nothing,” with a slightly different track listing) and then in several other continents. The album had major hits, including “Girl You Know It’s True,” “Blame It on the Rain,” “Girl I’m Gonna Miss You” and “Baby Don’t Forget My Number.” In 1990, Milli Vanilli won the Grammy for Best New Artist. In the end, it was Farian who exposed the Milli Vanilli vocals fraud when Morvan and Pilatus threatened to expose the fraud because Farian wouldn’t let them sing their real vocals on Milli Vanilli’s second album.
Farian, who now lives in seclusion, is not interviewed in the documentary. He did not respond to the filmmakers’ requests for an interview. However, the “Milli Vanilli” documentary has interviews with several people who knew the truth behind the scenes, including Ingrid Segieth, whose nickname Milli was the inspiration for the Milli Vanilli name.
Segieth was Farian’s secretary and girlfriend at the time. She says she was very close to Pilatus, although she denies that she and Pilatus ever had a romantic relationship. The most she will admit to is that she and Pilatus would platonically cuddle and sleep in the same bed on many occasions. “We loved each other without the sex,” Segieth comments.
Segieth was the person who found Pilatus dead of an overdose in Friedrichsdorf, Germany. She cries in the documentary over this memory and says she is ashamed of any part she played in his downfall. She denies any claims that Farian threatened to sue Morvan and Pilatus if they backed out of the contract. Segieth also says in the documentary that Morvan and Pilatus willingly signed the contract and didn’t object to having other people sing Milli Vanilli songs on the first Milli Vanilli album.
Morvan admits it, up to a point, because he still claims that he and Pilatus regretted the contract soon after they signed it, but they tried to justify those regrets after success came quickly for them. Morvan says that he and Pilatus “got sucked into the fame, power and adoration … We embraced the lie … It was difficult not to say no to this new life … That became very addictive.”
Other people interviewed in the documentary who knew the truth from the beginning are the people who sang on Milli Vanilli’s first album: Brad Howell, who did the vocals that Pilatus lip synced in public; Charles Shaw, who did the vocals that Morvan lip synced in public; and twin sisters Linda Rocco and Jodie Rocco, who both did backup vocals on the album. They don’t have much to say that they haven’t already talked about in other interviews.
Shaw was the first to go public (in 1988) about Pilatus and Morvan not singing on Milli Vanilli’s first album. But by his own admission, Farian paid him off, and Shaw retracted his statements at the time. Shaw was replaced by John Davis, who died in 2021, at the age of 66.
And what about people at Milli Vanilli’s record companies? This is where the “Milli Vanilli” documentary gets interesting. Milli Vanilli was signed to Arista Records (led by Clive Davis at the time) in the United States. Davis is not interviewed in the documentary.
However, Ken Levy, who was a senior vice president at Arista at the time, is interviewed and essentially admits that high-ranking people at Arista (including Davis) knew that Pilatus and Morvan didn’t sing on Milli Vanilli’s first album, but only after the album was released in Europe and after Milli Vanilli had signed with Arista. Thomas Stein, who worked for Ariola Records (Milli Vanilli’s record company in Germany), denies knowing that Morvan and Pilatus did not sing on Milli Vanilli’s first album before the album was released in Europe.
Richard Sweret, who worked in artist A&R at Arista, says that people from the record company weren’t allowed in the studio for Milli Vanilli sessions, which he says were under Farian’s tight control. Mitchell Cohen, another former A&R executive for Arista, echoes that claim and says that although it was weird not to see Morvan and Pilatus do any recordings in the studio, Arista took the album “on faith” from Farian that everything was legitimate.
Arista had signed Milli Vanilli after Milli Vanilli’s first album was a success in Europe, so these former Arista executives say that they didn’t question the validity of the vocals at the time that Milli Vanilli had completed the album. The “All or Nothing” album released in Europe actually didn’t have the names of Morvan and Pilatus on it, but the former Arista executives interviewed in the documentary say that they didn’t notice that detail at the time.
When it came time for Milli Vanilli to do live performances, that’s when more people behind the scenes found out that Morvan and Pilatus didn’t sing the vocals on the album. The former Arista executives say that by then, Milli Vanilli was a success for a lot of people, and it would’ve been too embarrassing for the secret to be exposed. When Milli Vanilli went on tour or performed on TV, it was common for several artists to lip sync to recordings, so there were many people behind the scenes who didn’t question when Pilatus and Morvan did that too.
However, Mill Vanilli’s backup touring musicians knew the truth early on. Keith Yoni, the bass player for Milli Vanill’s backup band, says in the documentary that he knew something was “off” in their first rehearsals when the backup musicians were there but the “singers” were not. It’s easy to see how these backup musicians would not tell this secret because they wanted to keep their jobs.
The documentary mentions the infamous incident on July 21, 1989, in Bristol, Connecticut, when Milli Vanilli was performing on stage for the Club MTV tour. The recording that Pilatus and Morvan were lip syncing to got stuck and repeated loudly. Pilatus and Morvan ran off stage in embarassment. The crowd got angry and rowdy, not because of the lip syncing but because Pilatus and Morvan cut their performance short. “Downtown” Julie Brown, who was a VJ on MTV at the time and was on the Club MTV tour, says in the documentary that Pilatus had a meltdown backstage over this incident.
However, this public glitch didn’t slow down Milli Vanilli, since many people who saw this mishap assumed that Morvan and Pilatus still recorded the songs on Milli Vanilli’s first album but were lip syncing to the songs in concert. Lip syncing in concert is a common practice that is looked down on by critics but accepted by most fans. Lip syncing in concert was less accepted then as it is now. Artists in pop music tend to get a more leniency about lip syncing in concert, compared to other genres where artists are expected to have more authenticity.
The usual perils of sudden fame are detailed in the documentary. Morvan says that he and Pilatus indulged in a lot of drugs and promiscuity. Pilatus’ ego began to get out of control, as he began making statements in interviews that Milli Vanilli was better and more talented than legendary artists such as Elvis Presley, Paul McCartney and Mick Jagger.
The beginning of the end for Milli Vanilli was winning the Grammy Award for Best New Artist. Shaw comments, “Once they won the Grammy, they hung themselves.” Documentary interviewees who knew Farian at the time say that that Farian did not want Milli Vanilli to be submitted for any Grammy Awards consideration, out of fear that the vocals fraud secret would be exposed.
However, Todd Headlee, who was the assistant to Sandy Gallin (Milli Vanilli’s manager at the time) didn’t know that. (Gallin died in 2017. He was 76.) Headlee went ahead on his own initiative and submitted Milli Vanilli for Best New Artist and other Grammy categories. Headlee says in the documentary that he thought he was doing a good thing for Milli Vanilli with these Grammy submissions and was confused when many people in Milli Vanilli’s inner circle were upset over Milli Vanilli being submitted for the Grammys.
The Recording Academy, which was then known as the National Academy of Recording Arts and Sciences (NARAS), is the industry group that votes for the Grammys. NARAS had a policy at the time that any artist performing at the Grammy Awards ceremony had to perform live. However, Segieth says in the documentary that people at Arista Records (she doesn’t name names) bribed Michael Greene, who was NARAS CEO from 1988 to 2002, to let Milli Vanilli lip sync on the Grammy Awards in 1990. Twelve years later, Greene resigned from NARAS in disgrace over allegations of sexual harassment and sexual assault.
After Farian exposed Milli Vanilli for being vocal frauds, Pilatus and Morvan did a notorious press conference in November 1990, when they gave back their Grammy Award trophies that they won in February of that year. The media people at the press conference asked tough questions, and many of the reporters were visibly angry. However, the documentary does a very good job of pointing out that while most people in the media and the general public focused their wrath on Pilatus and Morvan, the person who masterminded this fraud (Farian) escaped relatively unscathed. There are also racial implications to what Farian did, since he built his entire career on exploiting black artists.
Farian would go on to produce a band called the Real Milli Vanilli, with members that included Davis and Howell, but that band flopped. And so did comeback attempts by Pilatus and Morvan, who renamed their act Rob & Fab, which released a self-titled album in 1993. Pilatus died before doing a promotional tour for Rob & Fab’s “Back and in Attack” album, which was never released.
Morvan has been a solo artist for several years (he says he no longer lip syncs when performing live), and he seems content with his current life, although he’s still obviously affected by Pilatus’ death and the highs and lows of Milli Vanilli. The documentary includes an interview with Morvan’s Dutch partner Tessa van der Steen, who is the mother of Morvan’s children and who works as a health coach/orthomolecular therapist. She says she didn’t know who he was when she first met him.
Carmen Pilatus, Rob’s adoptive sister, comments on what led to Rob’s downward spiral: “He sought attention that he didn’t get as a child.” She also describes Rob in his youth as someone who would make up elaborate stories about himself. She says that Rob felt tremendous guilt about the fraud from the beginning of Milli Vanilli.
Morvan comments on how Rob dealt with the guilt: “He drank and took more drugs to black out.” Carmen says that Rob could be “vicious when he was on drugs.” Most of her disgust is for Farian, whom she says showed up at Rob’s funeral, after the service was over, just so he could be photographed by the media.
Other people interviewed in the documentary include recording engineer Tom Gordon, who worked on the “Fab & Rob” album; songwriter Diane Warren, who wrote “Blame It on the Rain” and says she didn’t know about the lip syncing until after the song was a hit; music producer/songwriter Timbaland; former BET executive Stephen Hill; music producer/songwriter Toby Gad; and music journalists/critics Rob Sheffield, Hanif Abdurraqib and Gil Kaufman. “Milli Vanilli” is a documentary about one of the biggest scandals in the music industry, but it’s also a cautionary “be careful what you wish for” tale for entertainers who want to be rich and famous at any cost.
UPDATE: Paramount+ will premiere “Milli Vanilli” on October 24, 2023.
Culture Representation: Taking place in Cleveland, Ohio, the comedy/drama film “The Good Half” features a predominantly white cast of characters (with a few African Americans and Latinos) representing the working-class and middle-class.
Culture Clash: A 28-year-old aspiring comedy screenwriter returns to his hometown of Cleveland, as he struggles with grief over his mother’s death, as well as tensions with his sister and his stepfather.
Culture Audience: “The Good Half” will appeal primarily to people who are fans of the movie’s headliners and comedy/dramas about complicated family relationships and the effects that a terminal illness has on a family.
Nick Jonas and Alexandra Shipp in “The Good Half” (Photo courtesy of The Ranch Productions)
In the comedy/drama film “The Good Half,” the movie’s “good half” is the latter half, which shows the most emotional depth. Led by Nick Jonas’ admirable performance, it’s a capably acted story about grief, hope and family tensions. “The Good Half” had its world premiere at the 2023 Tribeca Festival.
Directed by Robert Schwartzman and written by Brett Ryland, “The Good Half” jumps back and forth in the story’s timeline to show life in a family before and after the death of the clan’s matriarch. The movie (which takes place in Cleveland, Ohio) is told from the perspective of her son, who had a close relationship with his mother as a child, but as an adult, he drifted apart from the family after he moved to Los Angeles to pursue a career as a comedy screenwriter. In some ways, “The Good Half” resembles a sitcom with a serious side, but the movie improves when it starts to dig deeper into some realistic family dynamics.
“The Good Half” opens with a flashback scene that takes place when protagonist Renn Wheeland (played by Mason Cufari) is 9 years old and with his neurotic mother Lily Wheeland (played by Elisabeth Shue) near a shopping area. Renn is upset because Lily accidentally left him in a store and didn’t return until about two hours later. A remorseful Lily promises Renn that she will never leave him in a store again. This childhood memory is brought up again later in one of the movie’s most emotionally intense scenes.
Renn (played by Jonas) is now 28 years old and somewhat estranged from his family. He has returned home to Cleveland because Lily has died of a terminal illness. (“The Good Half” was actually filmed in New Jersey and Los Angeles.) On the plane to Cleveland, Renn has a “meet cute” moment with a psychotherapist named Zoey (played by Alexandra Shipp), who tells Renn that she’s visiting Cleveland for a psychotherapist convention. Renn tells a partial lie of omission by saying to Zoey that he’s going to Cleveland for a family reunion. He leaves out the detail that the reunion is under the sad circumstances that it’s for his mother’s funeral.
There’s another airplane passenger sitting in between Renn and Zoey, who have a friendly and flirtatious conversation, while the man in the middle looks slightly uncomfortable. Zoey says that she’s afraid of flying. She jokes that she wishes their flight would turn into the 1997 airplane hijack movie “Con Air.” Zoey adds that all the action movies of the 1990s are great films.
Zoey is very talkative and curious. She asks a lot of questions and finds out from Renn that he is an available bachelor. Renn is a little more guarded and won’t disclose much about himself, except basic information, such as Cleveland is where he was born and raised. After the airplane lands, Zoey and Renn exchange phone numbers, because it’s obvious that they feel an attraction to each other.
When Renn takes a rideshare from the airport, he tells the driver to take the longest way to the destination. It’s an obvious sign that Renn is dreading seeing his family again. Renn has a cordial but emotionally distant relationship with his father Darren Wheeland (played by Matt Walsh), who is mild-mannered and easygoing. Darren and Lily got divorced years ago. Darren has not remarried, and he lives by himself.
Renn’s relationship with his married older sister Leigh (played by Brittany Snow) is much more volatile. Leigh is an uptight control freak who has deep resentment toward Renn for a number of reasons. One of the things she’s angry about is that Renn avoided her numerous attempts to contact him when she needed Renn to help make decisions about their mother’s funeral and other after-death arrangements. It also irritates her that Renn doesn’t seem to care about keeping in touch with anyone in his family.
For now, things will be awkward between Renn and Leigh because he’s staying at the house of Leigh and her husband (who doesn’t say much and is barely in the movie) while Renn is visiting Cleveland. On the evening that Renn was supposed to arrive in Cleveland, Leigh had a get-together of Lily’s friends and colleagues. However, Renn showed up too late, after all of the guests had already left.
“We had a lot of people over here paying their respects,” says a grim-faced Leigh, who can barely hide her disgust that Renn was late. “I’m sorry you missed them.” Renn replies sullenly, “I’m not.” There will be more tension-filled scenes like this between this brother and sister, until the inevitable emotional confrontation where long-held resentments erupt to the surface. Renn and Leigh’s big reckoning with each other has more sorrow than anger.
Renn and Leigh don’t agree on a lot, but there’s one thing that Renn, Leigh and their father all agree on: Lily’s second husband Rick Barona (played by David Arquette) is an annoying jerk. Rick is legally considered Lily’s next of kin, so he’s made a lot of decisions about the funeral that Renn is sure that Lily would not have wanted. Lily wanted to be cremated, but Rick has arranged for her to buried. Lily was Jewish, but Rick has arranged for a Catholic priest to officiate at the funeral.
“The Good Half” has a very effective subplot about the eulogy part of the funeral service. The eulogy is symbolic of the power struggles and disagreements in the family over how Lily wanted to be remembered at her funeral. Needless to say, Rick has very different ideas from what Renn thinks should be said in the family’s eulogies.
Rick wants to hire his eccentric spiritual guru Father Dan (played by Stephen Park), who never met Lily, to officiate the funeral and help family members craft their eulogies. (Father Dan, who teaches piano lessons to children out of his cluttered and messy house, doesn’t appear to be a real ordained priest.) Leigh and Darren try not to get into confrontations with Rick, but Renn has no such qualms. Rick wasn’t exactly a devoted husband during the last months of Lily’s life. And you can bet that the question over who really cared about Lily the most will come up in any arguments between Rick and Renn.
There’s a lot of family drama in “The Good Half,” but the movie seamlessly includes the subplot about Renn and Zoey’s possible romance, which is where some (but not all) of the movie’s comic relief occurs. Renn and Zoey see each other again when he calls her and invites her to meet up with him in a bar. Zoey eventually reveals that she has her own personal issues: She’s going through a divorce.
Zoey says that one of the reasons why she broke up with her soon-to-be ex-husband is because he cheated on her. The Zoey/Renn relationship starts off looking very formulaic. But to the credit of “The Good Half” filmmakers, not everything about this possible romance is predictable.
Anchoring the emotional center of the film is Jonas’ memorable performance as Renn, who is more devastated by Lily’s death than he cares to admit. Shue’s performance as Lily in the flashback scenes is heartfelt and compelling. Lily had her share of quirks (including a habit of stealing table utensils every time she went to a restaurant), but there’s no doubt that she truly loved her children, and they loved her.
In one of the flashback scenes, Renn is spending time with Lily, and he knows that she’s in an unhappy marriage with Rick. Renn advises Lily to end the marriage, and he offers to move back to Cleveland to help her with the divorce. It’s an offer that Lily firmly declines because she says that Renn shouldn’t interrupt his life because of her own personal problems.
And then, Lily blurts out the real reason why she doesn’t want to divorce Rick: “I’ll be a 56-year-old, twice-divorced woman living in Cleveland.” It’s a simple sentence, but it speaks volumes about how some women of a certain age feel when society often treats them like their age is an expiration date for desirability.
“The Good Half” has expected tearjerking moments in scenes showing Lily’s medical treatment and the effects that her illness have on Lily and her loved ones. Despite this depressing part of the movie, “The Good Half” still brings moments of comedic whimsy—some of it is better-placed than others. A subplot about breaking into a home looks very much like it belongs in a sitcom; it turns out to be a set-up to end the scene in a sentimental way.
The movie fares much better with its drama, which is the basis for the best scenes in “The Good Half.” A heart-wrenching monologue by Renn has a line in it that explains why the movie has this title. Does “The Good Half” get a little too sappy in the drama and a little too cutesy in the comedy? Sure, it does. But these are minor flaws that don’t get in the way of this mostly authentic-looking story of how a family can be ripped apart or can come together because of grief.
UPDATE: Utopia Films and Fathom Events will release “The Good Half” in U.S. cinemas for a limited engagement on July 23 and July 25, 2024. The movie will have a wider release in U.S. cinemas on August 16, 2024. “The Good Half” will be released on digital and VOD on September 6, 2024.
Culture Representation: Taking place in Ukraine from April to November 2022, the documentary film “Rule of Two Walls” features an all-white group of people who were affected by the Russian invasion war that began that year.
Culture Clash: Several artists show resistance to the Russian invasion in various ways as their lives remain in danger.
Culture Audience: “Rule of Two Walls” will appeal mainly to people who are interested in watching a documentary about the horrors of the Ukrainian war from an artist perspective.
Lyana Mytsko in “Rule of Two Walls” (Photo courtesy of New City/Old City)
Harrowing and inspiring, the documentary “Rule of Two Walls” sometimes gets unfocused in its cinéma vérité style of showing how some Ukrainian artists responded to and were affected by the war that began in 2022. It’s still very insightful filmmaking. “Rule of Two Walls” had its world premiere at the 2023 Tribeca Festival.
Directed by David Gutnik, “Rule of Two Walls” was originally going to be about Ukrainian refugees in Poland, according to Gutnik’s statement in the “Rule of Two Walls” production notes. He adds, “But by the time I crossed the border into Ukraine, it was clear to me that I was going to make a film about Ukrainians who stayed.” Gutnik is American, but he says most of his family members are from Ukraine.
“Rule of Two Walls” (which was filmed in Ukraine from April to November 2022) opens with a seemingly idyllic scene of two live-in lovers in their 30s waking up together in bed at their home in Kharkiv, in April 2022. They are artist Lyana Mytsko and musician Stepan Burban, who are featured prominently in the movie. Stepan says his gall bladder hurts. Lyana jokes that Stepan must be getting old, “Little Stepanko, 95 years old.”
But this domestic bliss soon gets a harsh reality check, because the Russian invasion war on Ukraine had begun in February 2022. Mytsko comments that in these times, it’s important that the couple’s “windows haven’t been blown out yet.” Later, Mytsko (who describes herself as an “activist” and a “feminist”) is the director of the Lviv Municipal Arts Center, which features some of her own artwork. The fate of the arts center is in jeopardy because of the war. The National Art Museum of Ukraine is also featured in the documentary.
Throughout “Rule of Two Walls,” artists are shown talking about how their lives and their art have been affected by the war. Burban performs industrial rock music and is the lead singer of his band. He begins writing more protest songs. Burban is shown performing with his band to an enthusiastic crowd of mostly young people who are angry about the war.
Photography artist Bob Basset shows his collection of photos of people wearing gas masks. Two young women are shown putting up a handmade poster that reads, “We are not afraid of you, Russia. We hid our monument because we don’t want you to see our shame.” In the documentary, Mytsko explains that since the war began, what she expresses in her art is “to regain some control over all this crazy shit.” Bohdana Davydiuk and Iryna Hirna are two other Ukrainian artists featured in the documentary.
A female artist, who did not want her face shown on camera, seems to have a specialty in painting nude people. The movie’s end credits identify her as Kinder Album. She shows the paintings she made of real horrors of war that she witnessed.
One of her more disturbing paintings shows a naked woman kneeling, with her hands tied behind her back. She is surrounded by standing soldiers, who are seen from the neck down. One of the soldiers has his pants down, as if he is about to rape or just raped the woman. Another painting shows a woman cleaning a large pool of blood on a street.
The overall sentiment of the Ukrainian artists interviewed in the documentary is one of defiance in refusing to let Russia erase or take over their land, their lives and their culture. Art curator/manager Diana Berg, who is also an artist, comments in the documentary: “No war can deprive us of our culture and traditions. When [Russian president Vladimir] Putin says we [Ukrainians] have no culture, we have no nation.” She adds sarcastically, “Does that mean everything we create is Russian?”
Sensitive viewers should be warned that “Rule of Two Walls” also has several scenes of murdered bodies (most are human and some are animals) on streets. In one scene, bodies that were set on fire are seen with smoke still coming out of the ashen remains. It’s a jolting but necessary look at the tragedies and incalculable loss of lives during this terrible war.
Not all of the imagery and subject matter in “Rule of Two Walls” are completely depressing. Mytsko tells a heartwarming story of how people teamed up to rescue a cat that happened to be fairly well-known in the area because of the cat’s Instagram following. It seems that fame has privileges, even for animals in a war. An unidentified man talks about bringing food and other aid from Lviv to Kyiv. He had to send his wife and son away, for their own safety.
Gotnik has a “no frills” approach to this film and only inserts himself into the movie in the last third of the documentary, when he briefly shows himself on camera and talks about how all of his bank accounts have been frozen (he suspects the Russian government is behind it), so he is temporarily stuck in Ukraine. “Rule of Two Walls” sometimes has a rambling tone that occasionally makes the movie look disjointed and in need of tighter film editing. However, the documentary succeeds in its intention to juxtapose the damage of the war with the resilience and vibrant spirit of the Ukrainian people.
UPDATE: Monument Releasing will release “Rule of Two Walls” in New York City on August 16, 2024.
Culture Representation: Taking place in the United States, Italy, and South Korea, the documentary “Kim’s Video” features a predominantly white group of people (with a few Asians and African Americans) discussing the legacy and noteworthy inventory of Kim’s Video & Music, a New York City-based retail company that operated from 1995 to 2014, and was known for having thousands of obscure and rare movies.
Culture Clash: “Kim’s Video” co-director Davd Redmon goes on investigative journey to find out what happened to the store’s approximately 55,000 videos that Kim’s Video founder Yongman Kim donated to the small Italian city of Salemi, Sicily, in 2009.
Culture Audience: “Kim’s Video” will appeal primarily to people who are interested in “treasure hunt” type of documentaries and documentaries about the history of video stores.
A photo still from “Kim’s Video” (Photo by Ashley Sabin and David Redmon)
“Kim’s Video” is a love letter to not just one video store but also a bygone era when people gathered at actual video stores to rent and buy movies and TV shows. This documentary’s “gonzo” style sometimes looks staged, but the movie is mostly entertaining. “Kim’s Video” had its world premiere at the 2023 Sundance Film Festival and has since made the rounds at other film festivals in 2023, including the Beijing International Film Festival, the Copenhagen Documentary Film Festival and the Tribeca Festival.
Directed by David Redmon and Ashley Sabin, “Kim’s Video” features Redmon as one of the “stars” of the movie. He can be heard on camera as the narrator and interviewer, but he is almost never seen on camera. Most of “Kim’s Video” is about the hunt to find out what happened to the approximately 55,000 videos that used to be inventory for the New York City-based retail company Kim’s Video & Music (more commonly known as Kim’s Video), whose specialty was selling and renting obscure and rare movies.
“Kim’s Video” begins with Redmon giving a brief summary of his personal history. He says he became “obsessed” with movies from a very early age during his childhood in rural Texas. He explains that his parents were only 17 when he was born, and they sent him to live with his grandmother when he was 6 years old. His grandmother let him watch a lot of movies, which inspired his desire to become a filmmaker.
Redmon says he became so obsessed with movies and filmmaking, “Sometimes I found it difficult to distinguish between fiction and reality.” As an example, he mentions that after seeing director Richard Linklater’s 1990 mumblecore comedy/drama film “Slacker” (which was filmed in Austin, Texas), Redmon drove to Austin and tried to look for the characters in “Slacker,” because he thought they were real people.
He also says that where he lived in Texas (he does not name the city) did not have a video store and the closest that someone could go to be around movies was the local Wal-Mart. He got a job there but got fired after the manager accused him of stealing movies and putting them a dumpster. Redmon moved to New York City and discovered Kim’s Video. “I knew immediately that I found a new home,” Redmon says of this retail business.
Before the documentary gets to the “treasure hunt” part of the story, there’s a fairly long stretch of interviews with former Kim’s Video employees, most of whom were store clerks or store managers. Many of these ex-Kim’s Video employees went on to work in the movie industry in some capacity, including filmmaker Alex Ross Perry, comedian David Wain and journalists Dennis Dermody and Lorry Kitka. All of them have nothing but praise for Kim’s Video, which had a chain of about seven stores in New York City, until all but one named Mondo Kim’s remained open. The other store locations all had the word “Kim’s” in the title, such as Kim’s Underground, Kim’s Mediapolis and Kim’s West.
Dermody describes the selections of bootlegs and obscure releases at Kim’s Video: “It was a treasure trove.” Wain remembers what he felt like when he walked into the store: “I’m stepping into the gold mine of cool.” Anna Thorngate, a former Kim’s Video employee, comments on what made Kim’s Video so special: “It was just this weird little headquarters of watching and thinking about movies. It was the place to get weird movies.” Kitka says that Kim’s Video customers Joel Coen and Ethan Coen—two brothers who would go on to become Oscar-winning filmmakers—had $600 in late fees by the time the last Kim’s Video store shut down.
Although many of the employees paint a rosy picture of Kim’s Video, the company had a shady history of trafficking a lot of bootleg videos, and the company would regularly get fined and raided by the FBI. It’s mentioned in the documentary that Kim would get many of these bootlegs by requesting movies from the U.S. Embassy, making copies of the tapes, and selling those copies. Former Kim’s video employee Ryan Krivoshey says that every time a Kim’s Video store got busted for bootlegs, owner Kim would just replenish the bootleg supply even more.
However, all this bootlegging eventually caught up to Kim’s Video. It’s the main reason why the company shut down having multiple locations and was only left with one, until that final one closed too. Robert Greene, a former Kim’s Video employee, recalls fondly: “We were really proud of those tapes … We felt we were above the law. The law said, ‘Ownership matters.’ We said, ‘Film knowledge matters more.'” Other former Kim’s Video employees interviewed in the documentary include Isabell Gillies, Eric Hynes and Sean Price Williams.
There’s a significant part of the documentary that’s about trying to track down Yongman Kim, the mysterious South Korean entrepreneur who founded Kim’s Video. The company was fully operational from 1995 to 2009, and the very last Kim’s Video retail location officially closed in 2014. The documentary mentions that not much is known about Kim outside of his video business. He served in the Korean military; immigrated to the U.S. in 1979, when he was 21; and he started a laundry business before going into the video retail business. In his youth, Kim went to film school and later also dabbled in filmmaking.
In 2008, Kim did something very unexpected: He announced that the Kim’s Video flagship New York City store Mondo Kim’s would be closing the following year and that he was donating the company’s inventory of about 55,000 movies to the Italian city of Salemi, located in Sicily. Why was Salemi chosen? The city promised to take proper care of the videos, give free rentals to customers, and offer sleeping quarters to people who were in the Kim’s Video membership program.
Salemi hired Glen Hyman, a Kim’s Video customer, to write the proposal to Kim’s Video. In the documentary, Hyman admits he had no idea what he was doing at the time when he got involved in this business deal. Filmmaker/ex-Kim’s video employee Perry says he’s still amazed that this relatively obscure city was chosen instead of a more well-known place. “What on earth was anyone thinking that this [donating the inventory to Salemi] made more sense than NYU [New York University] saying, ‘We’ll take it’?”
And so, off Redmon goes to Salemi (in 2017), in search of these lost movies, which are mostly in the formats of cassette tapes and DVDs. It turns out that finding the inventory in Salemi wasn’t as easy as some people thought it might be. Instead of the video store being a tourist attraction, as originally intended, Redmon shows in the documentary that, in 2017, the videos were stored in a place shrouded in mystery and kept off-limits to the public.
“Kim’s Video” takes a sometimes comical tone when Redmon confronts certain people and demands access to the videos, because he says he’s still a card-carrying member of Kim’s Video. And then, the movie takes a dark turn when it exposes the Mafia connection to this bizarre story. It’s a tale of greed and politics. Leopoldo Falco, who was president of Italy’s Anti-Mafia Investigative Commission, gives one of the most memorable interviews in the film. Redmon also gets help from an Italian journalist named Marco Bora.
During the course of the documentary, Redmon has various run-ins with Salemi police chief Diego Muraca, as well people whose job is to guard the place where the long-lost Kim’s Video movies were kept in Salemi. There’s also some amusing footage of Redmon trying to get an interview with then-Salemi mayor Domenico Venuti. It should come as no surprise that Redmon had to stalk Venuti in public places in attempts to get this interview. At one point, Redmon becomes well-known enough to Venuti’s entourage that Venuti is shown on camera actively avoiding Redmon whenever he sees Redmon.
The second half of the documentary is better than the first half, which wastes a little too much time with repetitive gushing about Kim’s Video from ex-employees. One of the other problems that some people might have with the “Kim’s Video” documentary is that it’s difficult to know how much of an act Redmon is putting on for the camera when he does this type of ambush documentary filmmaking. There’s a break-in scene that looks like it could have been staged and possibly scripted.
Is “Kim’s Video” co-director Redmon a dedicated Kim’s Video fan, or is he a fanatic who’s gone too far? “Kim’s Video” invites viewers to make up their own minds. At the very least, the movie gives answers that a lot of Kim’s Video enthusiasts might have about what really happened to Kim’s Video founder Kim and all the videos that he donated. People who follow the news about a certain Austin-based company with various locations might already know where those videos are now. But the “Kim’s Video” documentary is a mostly entertaining chronicle of the quest to find out answers to a lot of Kim’s Video questions, although cinephiles who are fans of obscure movies are most likely to appreciate this documentary.
UPDATE: Drafthouse Films will release “Kim’s Video” in select U.S. cinemas on April 5, 2024, with an expansion to more U.S. cinemas on April 12, 2024.
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 Cohen, Waad al-Kateab, Morgan Neville, Sam Pollard, Rob 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 Uncharted; Sara 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 Rather; Gogol 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 Twitter, Instagram, Facebook, 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 Holland; Shadow Brother Sunday, Alden 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 Schiavolin; My 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 Twitter, Instagram, Facebook, 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.
The following is a press release from the Tribeca Film Festival:
The 21st annual Tribeca Festival, presented by OKX, announced the winning storytellers in its competition categories at this year’s awards ceremony at Tribeca eatery Thalassa. Awards were given in the following competition categories: Feature Film, Short Film, Audio Storytelling, Immersive, Games, Human / Nature, AT&T Untold Stories, and Tribeca X.
The ceremony awarded $165,000 in cash prizes. The Festival, which hosts over 600 events across New York City, concludes on June 19th.
“Today’s honorees are a testament to the vitality of cinematic storytelling, representing the most exciting achievements across countries, genres, and platforms,” said Cara Cusumano, Festival Director and Vice President of Programming. “We are proud to recognize such a diverse and innovative group of works and creators with today’s well-deserved award winners.”
A special Virtual Award Winner Screenings series will be available for U.S. audiences via Tribeca At Home on Saturday, June 18 and Sunday, June 19, 2022.
Tickets can be purchased at tribecafilm.com/festival/tickets. Competition winners in the Short Films Category, presented by Meta, are available to stream on the Meta Quest 2 virtual-reality headset as well as the Tribeca page on Facebook through Sunday, June 19.
In cash awards and in-kind services provided by sponsors, some award winners received the unique Tribeca Festival Art Award. Supported by CHANEL, the world-class artists donated work to honored filmmakers.
The winners of the Audience Award, which are determined by audience votes throughout the Festival, will be announced next week.
2022 Winners and Special Jury Mentions, as selected by the 2022 Festival Jury, are as follows:
U.S. NARRATIVE COMPETITION
Rain Spencer and Andie MacDowell in “Good Girl Jane” (Photo by Jake Saner)
The Founders Award for Best U.S. Narrative Feature: Good Girl Jane, (United States) – World Premiere, presented by OKX. Bullied out of private school and at odds with her divorced parents, lonely high schooler Jane spirals out of control after falling in with a hard-partying crowd and becoming smitten with a dangerously charismatic bad boy. Directed and written by Sarah Elizabeth Mintz. Produced by Fred Bernstein, Dominique Telson, Lauren Pratt, Sarah Elizabeth Mintz, Simone Williams. With Rain Spencer, Patrick Gibson, Andie MacDowell, Odessa A’Zion, Olan Prenatt, Eloisa Huggins. The winner receives $20,000.
Shyrley Rodriguez, Elizabeth Rodriguez, Liza Colón-Zayas and Daphne Rubin-Vega in “Allswell” (Photo by Oren Soffer)
Best Screenplay in a U.S. Narrative Feature: Ben Snyder and Elizabeth Rodriguez for Allswell, (United States) – World Premiere. Three Nuyorican sisters navigate the daunting life challenges of single motherhood, career, and family, all while finding humor and solace within the bonds of sisterhood in this absorbing dramedy. Directed and written by Ben Snyder, and written by Elizabeth Rodriguez. Produced by Gia Walsh, Elizabeth Rodriguez, Vince Jolivette, Ben Snyder, Ari Issler, Paul Jarrett, Kara Baker. With Elizabeth Rodriguez, Liza Colon-Zayas, Daphne Rubin-Vega, Felix Solis, Max Cassella, Michael Rispoli, Shirley Rodriguez, MacKenzie Lansing, and J. Cameron Barnett. The winner received $2,500.
Katie Parker and Rahul Kohli in “Next Exit” (Photo courtesy of No Traffic For Ghosts LLC)
Best Cinematography in a U.S. Narrative Feature: Azuli Anderson for Next Exit, (United States) – World Premiere. In a world where ghosts are real and front-page news, a controversial new medical procedure allows people to peacefully kill themselves. In the midst of this breakthrough, two strangers travel cross country together to end their lives, only to unexpectedly find what they’ve been missing along the way. Directed and written by Mali Elfman. Produced by Derek Bishé, Narineh Hacopian. With Katie Parker, Rahul Kohli, Rose McIver, Karen Gillan, Tongayi Chirisa, Diva Zappa.
Rain Spencer in “Good Girl Jane” (Photo by Jake Saner)
Best Performance in a U.S. Narrative Feature: Rain Spencer in Good Girl Jane, (United States) – World Premiere. Bullied out of private school and at odds with her divorced parents, lonely high schooler Jane spirals out of control after falling in with a hard-partying crowd and becoming smitten with a dangerously charismatic bad boy. Directed and written by Sarah Elizabeth Mintz. Produced by Fred Bernstein, Dominique Telson, Lauren Pratt, Sarah Elizabeth Mintz, Simone Williams. With Rain Spencer, Patrick Gibson, Andie MacDowell, Odessa A’Zion, Olan Prenatt, Eloisa Huggins.
Special Jury Mention for Best Performance in a U.S. Narrative Feature: Liz Carbel Sierra in God’s Time, (United States) – World Premiere. A heart-racing, NYC-set dark comedy that sees two best bros in recovery for addiction trying to prevent the potential murder of their mutual crush’s ex-boyfriend.
Directed and written by Daniel Antebi. Produced by Emily Korteweg, Andrew Hutcheson, Reid Hannaford. With Ben Groh, Dion Costelloe, Liz Caribel Sierra, Jared Abrahamson, Christiane Seidel.
INTERNATIONAL NARRATIVE COMPETITION
Kārlis Arnolds Avots and Alise Danovska in “January” (Photo by Andrejs Strokins)
Best International Narrative Feature: January (Janvaris), (Latvia, Lithuania, Poland) – World Premiere. An aspiring filmmaker tries to search for who he is against the backdrop of Latvian independence in this dark but dreamy coming-of-age story. Directed by Viesturs Kairiss. Written by Viesturs Kairiss, Andris Feldmanis, Livia Ulman. Produced by Inese Boka-Grūbe, Gints Grūbe. With Kārlis Arnolds Avots, Alise Danovska, Sandis Runge, Baiba Broka, Aleksas Kazanavičius, Juhan Ulfsak. In Latvian, Lithuanian, Russian, with English subtitles. The winner received $20,000.
Enrique Araoz in “The Visitor” (Photo by German Nocella)
Best Screenplay in an International Narrative Feature: Martín Boulocq and Rodrigo Hasbún for The Visitor, (Bolivia, Uruguay) – World Premiere. In the atmospheric and visually-compelling drama The Visitor, an ex-convict returns home in search of a new life and a chance to reconnect with his estranged young daughter, only to be met with resistance from his father-in-law – an influential pastor in the Evangelical community in town. Directed by Martín Boulocq. Written by Martín Boulocq, Rodrigo Hasbún. Produced by Andrea Camponovo, Alvaro Olmos. With Enrique Aráoz, César Troncoso, Mirella Pascual, Svet Ailyn Mena, Romel Vargas, Teresa Gutiérrez. In Spanish with English subtitles. The winner received $2,500.
“We Might As Well Be Dead” (Photo by Jan Mayntz)
Best Cinematography in an International Narrative Feature: Jan Mayntz for We Might As Well Be Dead (Wir könnten genauso gut tot sein), (Germany, Romania) – International Premiere. The disappearance of a dog and the sudden isolation of a security guard’s daughter start a bizarre chain of events in an apartment complex obsessed with keeping up appearances. Directed by Natalia Sinelnikova. Written by Natalia Sinelnikova, Viktor Gallandi. Produced by Julia Wagner. With Ioana Iacob, Pola Geiger, Jörg Schüttauf, Şiir Eloğlu, Moritz Jahn, Susanne Wuest, Knut Berger, Mina Özlem Sağdıç. In German, Polish with English subtitles.
Dorota Pomykała (pictured at far right) in “Woman on the Roof”
Best Performance in an International Narrative Feature: Dorota Pomykała for Woman on a Roof, (Poland, France, Sweden) – World Premiere. One morning a 60-year-old midwife does something extremely unexpected, which breaks her family and life apart. Inspired by a true story, this is a complex character portrayal told with outstanding cinematic realism. Directed and written by Anna Jadowska.
Produced by Maria Blicharska. With Dorota Pomykala, Bogdan Koca, Adam Bobik. In Polish with English subtitles.
DOCUMENTARY COMPETITION
Jason Wilson (pictured at right) in”The Cave of Adullam” (Photo by Greg Harriott)
Best Documentary Feature: The Cave of Adullam, (United States) – World Premiere. Living by the mantra ‘it’s easier to raise boys than to repair broken men’, martial arts sensei Jason Wilson tenderly guides his often-troubled young Detroit students with a beautifully effective blend of compassion and tough love. Directed by Laura Checkoway. Produced by Laurence Fishburne, Helen Sugland, Roy Bank, Joe Plummer, Laura Checkoway. With Jason Wilson, Kevin L. Collins Jr., Gabriel Davenport, Daniel White, Tamarkus Williams. The winner receives $20,000.
“The Wild One”
Best Cinematography in a Documentary Feature: Boris Levy for The Wild One, (France) – World Premiere. Jack Garfein — Holocaust survivor, theater and film director, key figure in the formation of the Actors Studio — vividly, animatedly, passionately recalls a life where historical tragedy and personal art formed a unique, driving, uncompromising vision. Directed, written, and produced by Tessa
Louise-Salomé. With Jack Garfein, Willem Dafoe, Peter Bogdanovich, Irène Jacob, Boby Sotto, Dick Guttman, Blanche Baker, Patricia Bosworth, Foster Hirsch, Geoffrey Horne, Kate Rennebohm. The winner receives $2,500.
“The Cave of Adullam” (Photo by Greg Harriott)
Best Editing in a Documentary Feature: Christopher McGlynn for The Cave of Adullam, (United States)
– World Premiere. Living by the mantra ‘it’s easier to raise boys than to repair broken men’, martial arts sensei Jason Wilson tenderly guides his often-troubled young Detroit students with a beautifully effective blend of compassion and tough love. Directed by Laura Checkoway. Produced by Laurence Fishburne, Helen Sugland, Roy Bank, Joe Plummer, Laura Checkoway. With Jason Wilson, Kevin L. Collins Jr., Gabriel Davenport, Daniel White, Tamarkus Williams. The winner receives $2,500.
BEST NEW NARRATIVE DIRECTOR COMPETITION
“Huesera”
Best New Narrative Director: Michelle Garza Cervera for Huesera, (Mexico) – Feature Narrative, World Premiere. Valeria has long dreamed about becoming a mother. After learning that she’s pregnant, she expects to feel happy, yet something’s off. Nightmarish visions and an unshakeable paranoia have her questioning what she wants, and an ancient evil spirit may be the cause. Directed by Michelle Garza Cervera. Written by Michelle Garza Cervera, Abia Castillo. Produced by Paulina Villavicencio, Edher Campos. With Natalia Solián, Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Aída López, Martha Claudia Moreno. In Spanish with English subtitles. An XYZ release. The winner receives $10,000.
Special Jury Mention for Best New Narrative Director: Floor van der Meulen for Pink Moon, (Italy, Netherlands, Slovenia) – World Premiere. An adult daughter kidnaps her father, whisking him away to a cabin in the snow, hoping to alter his unexpected announcement that he has had enough of life and will end it by his next birthday. Directed by Floor van der Meulen. Written by Bastiaan Kroeger. Produced by Derk-Jan Warrink and Koji Nelissen. With Julia Akkermans, Johan Leysen, Eelco Smits, Anniek Pheifer, Sinem Kavus.
BEST NEW DOCUMENTARY DIRECTOR COMPETITION
Edward Buckles Jr. in “Katrina Babies” (Photo by Myesha Evon Gardner)
The Albert Maysles Award for Best New Documentary Director: Edward Buckles Jr. for Katrina Babies, (United States) – World Premiere. Katrina Babies is a first-person account of the short-term and long-term devastation wrought by Hurricane Katrina, as told by young people who were between the ages of 3 and 19 when the levees broke. Directed by Edward Buckles Jr.. Written by Edward Buckles Jr., Luther Clement Lam, Audrey Rosenberg. Produced by Edward Buckles Jr., Audrey Rosenberg, Rebecca Teitel. With Miesha Williams, Cierra Chenier, Arnold Burks, Damaris Calliet, Calvin Baxter, Quintina Thomas Green. An HBO Documentary Films release. The winner receives $10,000.
NORA EPHRON COMPETITION
“Huesera”
Nora Ephron Award: Michelle Garza Cervera for Huesera, (Mexico) – Feature Narrative, World Premiere. Valeria has long dreamed about becoming a mother. After learning that she’s pregnant, she expects to feel happy, yet something’s off. Nightmarish visions and an unshakeable paranoia have her questioning what she wants, and an ancient evil spirit may be the cause. Directed by Michelle Garza Cervera. Written by Michelle Garza Cervera, Abia Castillo. Produced by Paulina Villavicencio, Edher Campos. With Natalia Solián, Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Aída López, Martha Claudia Moreno. In Spanish with English subtitles. An XYZ release. The winner receives $20,000.
SHORTS COMPETITION
Sigirid Husjord and Ola Hoemsnes Sandum in “Night Ride” (Photo by Vegard Landsverk)
Best Narrative Short: Night Ride (Nattrikken), (Norway) – New York Premiere, Short Narrative. It is a cold night in December. As Ebba waits for the tram, an unexpected turn of events transforms the ride home into something she was not expecting. Directed and written by Eirik Tveiten. Produced by Gaute Lid Larssen, Heidi Arnesen. With Sigrid Husjord, Ola Hoemsnes Sandum, Axel Barø Aasen. In Norwegian with English subtitles. The winner receives $5,000.
“Heart Valley” (Photo Christopher Cargill)
Best Documentary Short: Heart Valley, (UK, Wales) – World Premiere, Short Documentary. Heart Valley follows a day in the life of solitary Welsh shepherd Wilf Davies. Directed by Christian Cargill. Written by Kiran Sidhu. Produced by Christian Cargill, Lily Wakeley, Kiran Sidhu. With Evan Wilf Davies.
Richard “Mac” McKinney in “Stranger at the Gate” (Photo by Karl Schroder)
Special Jury Mention for Best Documentary Short: Stranger at the Gate, (United States) – New York Premiere, Short Documentary. A U.S. Marine plots a terrorist attack on a small-town American mosque. His plan takes an unexpected turn when he comes face-to-face with the people he sets out to kill. Directed by Joshua Seftel. Produced by Mohannad Malas, Suzanne Hillinger, Conall Jones, Jeremy Mack, Anna Rowe, Eric Nichols. With Bibi Bahrami, Dr. Saber Bahrami, Dana McKinney, Emily McKinney, Richard “Mac” McKinney, Jomo Williams.
“More Than I Remember”
Best Animated Short: More Than I Remember, (United States) – New York Premiere, Short Animation. Fourteen-year-old Mugeni awakes to the sounds of bombs. As her family scatters to the surrounding forests to save themselves, Mugeni finds herself completely alone. Directed by Amy Bench. Written by Mugeni Ornella, Amy Bench, Carolyn Merriman. Produced by Amy Bench, Carolyn Merriman. With Mugeni Ornella. The winner receives $5,000.
Student Visionary: Daydreamers, (Belgium) – North American Premiere, Short Narrative. A father and his daughter are very passionate about motorcycles. An eye condition jeopardizes their shared hobby. Directed by Ante Pask. Written by Ante Pask, Emiel van Wouwe. Produced by Ella Bal, Ante Pask.With Jurgen Delnaet, Flo Martens, Robby Cleiren. In Dutch with English subtitles. The winner receives $5,000.
TRIBECA AUDIO STORYTELLING COMPETITION
“Mother Country Radicals”
Best Audio Storytelling in Nonfiction: Mother Country Radicals.
In 1970, Bernardine Dohrn declared war on the United States. Now, her son Zayd tells the story of how she was radicalized, and became the most wanted woman in America. Created by Zayd Ayers Dohrn, executive produced by Zayd Ayers Dohrn, Jon Favreau, Sarah Geismer, Lyra Smith, Alison Falzetta, Misha Euceph, with sound design by Arwen Nicks, Stephanie Cohn, Ariana Gharib Lee, and Misha Euceph, and music by Andy Clausen.
Special Jury Mention Best Audio Storytelling in Nonfiction: I Was Never There.
Take a trip into the countercultural movements swirling through West Virginia in the 1970s and 80s. Jamie Zelermyer and her mother Karen investigate the shocking disappearance of their friend Marsha “Mudd” Ferber and explore her evolution from suburban housewife to back-to-the-land hippie to drug-dealing bar owner. As mother and daughter venture deeper into the mystery of Marsha’s disappearance, the two process their own history: Jamie reflects on her nontraditional upbringing and Karen reckons with the joyful and complicated consequences of her decisions. Created by Jamie and Karen Zelermeyer, produced by Adesuwa Agbonile, Lindsey Kratochwill, Liz Smith, Alessandra Wollner, edited by Jenny Kaplan and Liz Smith. Executive produced by Jamie Zelermyer, Jenny Kaplan (Wonder Media Network), and Karen Zelermyer, with sound design by Liz Smith.
“The Hollowed Out”
Best Audio Storytelling in Fiction: The Hollowed Out.
When a journalist returns to her hometown to investigate a suspicious accident involving a friend, she finds fractured relationships and mysterious rumors about what’s really going on in her town. Created, written, edited, and produced by Brit and Nick Kewin. Starring Stephanie Costa, Carolyn Taylor, Moynan King, Madison Cheeatow, Shomari Downer, Rodrigo Fernandez-Stoll, with sound design by Justin Helle.
TRIBECA IMMERSIVE COMPETITION
“Kubo Walks the City”
Storyscapes Award: Kubo Walks The City, (France, South Korea) – North American Premiere. Seoul, 1934. Korea is under Japanese occupation. Like “ethno-detectives,” viewers follow in the footsteps of Kubo, a Korean writer, in his urban flânerie. Through caricatures that mock the shortcomings of a Korean society emerging from the poverty and archaisms of the past, explore a city recklessly discovering the modernity and prosperity that come with occupation. Directed by Hayoun Kwon and produced by Innerspace VR. The winner receives $10,000.
Special Jury Mention for Storyscapes Award: EVOLVER, (United Kingdom, France, United States) – World Premiere. EVOLVER from Marshmallow Laser Feast is a collective virtual reality experience which drops audiences deep inside the landscape of the body, following the flow of oxygen through our branching ecosystem, to a single ‘breathing’ cell. Through this transcendental narrative, it becomes clear that breath not only sparks life, but also connects us to the natural world through the cycle of respiration.
Project Creators: Marshmallow Laser Feast, Jonny Greenwood, Meredith Monk, Jóhann Jóhannsson, Howard Skempton. Producers: Nicole Shanahan (Bia-Echo), Edward R. Pressman, and & Sam Pressman (Pressman Film), Terrence Malick (TF Malick Productions), Antoine Cayrol (Atlas V), and Mike Jones (Marshmallow Laser Feast).
“LGBTQ + VR Museum”
New Voices Award: LGBTQ + VR Museum, (United Kingdom, Denmark) – North American Premiere. LGBTQ + VR Museum is the world’s first virtual reality museum dedicated to celebrating the stories and artwork of LGBTQ people by preserving queer personal histories. The museum contains 3D scans of touching personal artifacts, from wedding shoes to a teddy bear, chosen by people in the LGBTQ community and accompanied by their stories told in their own words. The in-person version presented at Tribeca is a never-before-seen multiplayer biometric experience controlled by users’ emotions in real-time. Project Creators: Antonia Forster and Thomas Terkildsen. Producer: Albert Millis.
TRIBECA GAMES COMPETITION
“Thirsty Suitors”
Tribeca Games Award: Thirsty Suitors, (United States) – World Premiere. Jala is a young woman returning home for her sister’s wedding and confronting her past. With wildly varied gameplay, Jala will fight skate punks, random suitors, and ultimately, her exes, in the ultimate battle to heal old hurts and ignite new truths, bringing Jala closer to understanding what she wants from her future. Can she learn to love herself and heal the wounds of her past? Created by Outerloop Games. Published by Annapurna Interactive
Special Jury Mention for Tribeca Games Award: Oxenfree II: Lost Signals (United States) – World Premiere. OXENFREE II: Lost Signals is the mind-bending follow-up to the critically-acclaimed narrative adventure game OXENFREE from Night School Studio. In the small coastal town of Camena, unnaturally occurring electromagnetic waves are causing interference with electrical and radio equipment.
Reluctantly, Riley Poverly returns to her hometown to investigate the mystery. What she finds is more than she bargained for. Created by Night School Studios. Published by Netflix.
HUMAN / NATURE COMPETITION
Edward Buckles Jr. holding a photo in “Katrina Babies” (Photo by Myesha Evon Gardner)
HUMAN / NATURE Award: Katrina Babies, (United States) – World Premiere, presented by Bulleit. Katrina Babies is a first-person account of the short-term and long-term devastation wrought by Hurricane Katrina, as told by young people who were between the ages of 3 and 19 when the levees broke. Directed by Edward Buckles Jr.. Written by Edward Buckles Jr., Luther Clement Lam, Audrey Rosenberg. Produced by Edward Buckles Jr., Audrey Rosenberg, Rebecca Teitel. With Miesha Williams, Cierra Chenier, Arnold Burks, Damaris Calliet, Calvin Baxter, Quintina Thomas Green. An HBO Documentary Films release. The winner receives $5,000 and a custom engraved bottle of Bulleit Bourbon.
AT&T PRESENTS UNTOLD STORIES COMPETITION
AT&T Presents Untold Stories: Smoking Tigers, (United States). Over one summer spent at an elite academic bootcamp, a lonely Korean American teenager hides her true identity to fit in, only to discover the bittersweet pains of adulthood. Directed and Written by So Young Shelly Yo. Produced by Guo Guo. Untold Stories is a multi-year, multi-tier alliance between AT&T and the Tribeca Festival that awards $1 million dollars, mentorship, and distribution support to systemically underrepresented filmmakers to produce their films. Smoking Tigers will also be guaranteed a premiere at the 2023 Tribeca Festival, subject to timely delivery of the film and granted a dedicated “first look” opportunity with HBO Max.
TRIBECA X AWARD COMPETITION
“The Beauty of Blackness”
Best Feature for Tribeca X: The Beauty of Blackness. Brand: Sephora. Agency: Epic Digital, VOX Creative, Digitas, Ventureland. Directors: Kianna Moore and Tiffany Johnson. In 1973, Eunice Johnson, the founder of Ebony and Jet, noticed a problem: Black women had to mix their own foundation in order to find a color that matched their skin. To tackle the problem, Johnson launched Fashion Fair, the first national cosmetics company that focused entirely on Black women. The brand triggered a renaissance in style among Black women and the global cosmetics industry took notice. Now, Fashion Fair is staging its comeback as a Black-owned business in a new era defined by massive cultural shifts and increased competition. The Beauty of Blackness follows current Fashion Fair CEO Desiree Rogers and President Cheryl Mayberry McKissack as they face the massive undertaking that goes into reviving an iconic beauty brand amidst a new cultural context and gives a front-row look to how the industry has changed, and how much progress we still have to make.
“The Comeback”
Best Short for Tribeca X: The Comeback. Brand: Apple. Agency: TBWA\Media Arts Lab Shanghai. Director: Zhang Meng. The story follows a disheartened young stunt double-slash-wannabe director, his father, and a rag-tag crew of villagers as they set out to shoot an out-of-this-world movie in hopes of reviving their fading village and making it “internet famous”. This 23-minute heartwarming story is set to encourage everyone to never stop believing in their dreams, even if that dream is as far aways as Mars. Will they succeed in the end? A multi-genre movie mixes up Hollywood sci-fi, traditional Kung Fu action and nostalgic feel-good comedy, entirely shot on iPhone.
“Stories About Helpful People”
Best Series for Tribeca X: Stories About Helpful People. Brand: Zendesk. Creative Studio: Even/Odd. Directors: Sindha Agha, Erin Brethauer, and Tim Hussin. As a customer support company, everything Zendesk does — from how they build their customer experience software to the way they work with customers, is all about being helpful. It’s the spirit they believe in. “Stories About Helpful People” is a series of mini-documentaries and photo stories. It’s a series intended to inspire the Zendesk community to rally around the spirit of helpfulness. In GOLDEN AGE KARATE, a high school student helps a group of senior citizens get through a vulnerable time, by teaching them karate. In ERIC AND THE BEES, a U.S. military veteran discovers that beekeeping helps him cope with PTSD — and teaches other vets the healing powers of the hive.
Best Immersive for Tribeca X: Emerging Radiance: Honoring the Nikkei Farmers of Bellevue. Brand: Meta. Creators: Tani Ikeda and Michelle Kumata. Emerging Radiance, directed by Tani Ikeda and illustrated by Michelle Kumata, celebrates the untold stories of Japanese American strawberry farmer
who lived in Bellevue from 1920 to 1942. With a hand-painted mural and Spark AR Instagram filters, visitors have the opportunity to meet Toshio Ito, Rae Matsuoka Takekawa, and Mitsuko Hashiguchi, three survivors of the World War II incarceration camps, as they share in their own words their connections to the land before World War II, during incarceration, and post-World War II. Produced by Meta Open Arts.
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, VR, games, music, and online work. With strong roots in independent film, Tribeca is a platform for creative expression and immersive entertainment. Tribeca champions emerging and established voices; discovers award-winning filmmakers and creators; curates innovative experiences; and introduces new technology and ideas through premieres, exhibitions, talks, and live performances.
The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Tribeca will celebrate its 21st year from June 8–19, 2022.
In 2019, James Murdoch’s Lupa Systems, a private investment company with locations in New York and Mumbai, bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.
About the 2022 Tribeca Festival Partners
The 2022 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Bayer’s One a Day, Bloomberg Philanthropies, CHANEL, City National Bank, CNN Films, Converse, Diageo, Discovery+, DoorDash, Indeed, Meta, NYC Mayor’s Office of Media and Entertainment, Sephora, Spring Studios New York, P&G, United Airlines and Unreal Engine.
June 18, 2022 UPDATE:
AUDIENCE AWARD – NARRATIVE
Babetida Sadjo and Souléymane Sy Savané in “Our Father, the Devil” (Photo by Tinx Chan)
First Place: Our Father, the Devil – Directed by Ellie Foumbi Marie Cissé’s (Babetida Sadjo) troubled past comes calling with the arrival of Father Patrick (Souléymane Sy Savané), an African priest whom she recognizes from a terrifying episode in her homeland.
Second Place: Wes Schlagenhauf Is Dying– Directed by Parker Seaman A personalized video message to a coworker who contracted COVID, ignites an artistic fire in two aspiring directors, inspiring them to take a cross country road trip to visit their sick friend.
AUDIENCE AWARD – DOCUMENTARY
Jason Wilson (pictued at right) in “The Cave of Adullam” (Photo by Greg Harriott)
First Place: The Cave of Adullam– Directed by Laura Checkoway A heartwarming look at Detroit martial arts teacher Jason Wilson, who mentors young Black boys, giving them rare and invaluable experience of being seen and cared for as the vulnerable beings they are.
Second Place: Lift– Directed by David Peterson New York Theatre Ballet’s Project LIFT program has been offering scholarships to homeless, home insecure and at-risk children, exposing them to the beauty and discipline of ballet, often for the first time while helping them develop talent they never knew they had.
AUDIENCE AWARD – ONLINE
Alex Trewhitt in “Cherry” (Photo by Damien Steck)
First Place: Cherry – Directed by Sophia Galibert A driftless and uncommitted 25-year-old in Los Angeles discovers she has only 24 hours to make one of the most consequential decisions of her life, what to do about an unplanned pregnancy.
Second Place: In Her Name– Directed by Sarah Carter Frustrated, aspiring artist Freya has to put her career on hold to care for her formerly famous artist dad. When her estranged, well-heeled sister Fiona shows up, the sisters grapple with the impending demise of their father, reigniting their sibling rivalry.
