Review: ‘Highest 2 Lowest,’ starring Denzel Washington

August 15, 2025

by Carla Hay

Denzel Washington in “Highest 2 Lowest” (Photo by David Lee/Apple Studios and A24)

“Highest 2 Lowest”

Directed by Spike Lee

Culture Representation: Taking place in New York City in 2025, the dramatic film “Highest 2 Lowest” (a re-imagining of the 1963 movie “High and Low”) features a predominantly African American cast of characters (with some white people, Latin people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A wealthy music industry executive, who is trying to buy back the record company that he sold years ago, has to decide whether or not to pay $17.5 million in ransom for a kidnapping involving his son’s best friend.

Culture Audience: “Highest 2 Lowest” will appeal primarily to people who are fans of the movie’s headliners, filmmaker Spike Lee, and crime thrillers about moral dilemmas.

Aubrey Joseph and Elijah Wright in “Highest 2 Lowest” (Photo by David Lee/Apple Studios and A24)

“Highest 2 Lowest” is an uneven but watchable mix of riveting performances, a mismatched music score, stylish visuals, and unrealistic crime thriller scenes. Denzel Washington shines as a music executive caught in a kidnapping dilemma. This re-imagining of writer/director Akira Kurosawa’s 1963 film “High and Low” (which was loosely based on Evan Hunter’s 1959 novel “King’s Ransom”) isn’t as cinematically artistic as “High and Low.” However, “Highest 2 Lowest” gets many aspects right in telling this story that’s mostly from the perspectives of urban music culture in the 2020s. “Highest 2 Lowest” falls short when its protagonist (an affluent and elderly music industry executive) suddenly morphs into acting like an action hero detective in scenes that don’t look entirely believable.

Directed by Spike Lee and written by Alan Fox, “Highest 2 Lowest” had its world premiere at the 2025 Cannes Film Festival. “Highest 2 Lowest” is the first feature-film screenplay for Fox. The movie takes place in 2025 in New York City, where “Highest 2 Lowest” was filmed on location. It’s in contrast to “High and Low,” which take place in the 1960s, in Yokohama, Japan.

In “Highest 2 Lowest,” David King (played by Denzel Washington) is the millionaire founder of Stackin’ Hits Records. David, who is also a music producer, is a Grammy-winning legend in the music industry, where he’s had major hits with several artists for the past 30 years. However, Stackin’ Hits has recently been in a sales slump. The record company hasn’t had a hot streak like it did about 25 years ago. (In “High and Low,” the protagonist is an executive at a shoe company.)

David lives in the penthouse of a luxury Brooklyn condominium with his socialite wife Pam King (played by Ilfenesh Hadera) and their only child: a son named Trey King (played by Aubrey Joseph), who’s about 17 years old. David (who prides himself on being an ethical business person) and Trey have a fairly good relationship, but David thinks Trey spends too much time on Trey’s phone and lectures Trey about it. Trey is an aspiring music executive who recommends unknown artists to audition for David.

Stackin’ Hits was sold five years ago to an unnamed corporation that kept David as the CEO of the company and appointed him as chair of the board of directors. With Stackin’ Hits currently in a revenue rut, Stackin’ Hits has been put up for sale again. David regrets selling Stackin’ Hits and wants to buy back the company through a leveraged buyout. In the beginning of “Highest 2 Lowest,” David is preoccupied with this business deal, which needs the board of directors’ approval.

In the meantime, David has convinced another board member named Patrick Bethea (played by Michael Potts) to sell Patrick’s shares in the company to David, so that David can have a controlling interest in Stackin’ Hits. David assures Patrick that he has the money to buy Patrick’s shares. It’s a verbal agreement that won’t be official until the legal documents are signed. David’s plan is to have a controlling interest in Stackin’ Hits and then raise enough capital to buy back the entire company.

Near the beginning of the movie, David asks Pam (who is a loyal and supportive wife) to give a reduced donation from the usual $500,000 annual donation that they usually give to the recording studio museum where Pam is chairperson of the board of directors. David tells Pam that they need to tighten their personal budgets so he can start buying back Stackin’ Hits. Pam somewhat reluctantly goes along with this plan because it’s not what David had promised her.

David had originally promised to scale back his work schedule and reduce his Stackin’ Hits responsibilities, in order to spend more time with his family. David freely admits that he changed his mind and still wants to be fully in charge of Stackin’ Hits. There’s not much Pam can do about David’s changing his mind and backing out of his promise to her. The movie shows many examples of David being accustomed to being in charge and getting his way.

David is admired by his work colleagues, including his attorney Gabe (played by Wendell Pierce), who delivers some upsetting news to David later on in the movie. Even though David is highly respected in the music industry, several conversations in the movie reveal that David has lost his passion for music (especially discovering new artists), and he only seems to care about the business part of the music business. Pam is one of the first people to point out this change in David. It’s why she doesn’t think it’s a great idea for David to continue to have a time-consuming commitment to Stackin’ Hits.

David’s closest friend is someone he’s known for decades: his driver Paul Christopher (played by Jeffrey Wright), who isn’t afraid to tell David his honest opinions. David and Paul (who is a widower) knew each other before David hit it big in the music business. David is the godfather to Paul’s only child: a son named Kyle Christopher (played by Elijah White, who is Jeffrey Wright’s real-life son), who is a classmate and best friend of David’s son Trey. All of the performances in “Highest 2 Lowest” are skillful, but David’s character is the most complex, which is why Washington largely carries the movie with his talent and charisma.

The lives of the Knight and Christopher families get turned upside down when David receives a phone call from a kidnapper who tells him that Trey is being held captive and will be released if David pays a $17.5 million ransom in Swiss francs. Three detectives are the main investigators of this kidnapping: Detective Higgins (played by Dean Winters), who is bossy and rude; Detective Bell (played by LaChanze), who is logical and sarcastic; and Detective Earl Bridges (played by John Douglas Thompson), who has a “regular guy” personality.

Detective Bell figures out that the kidnapper or kidnappers want the ransom money in Swiss francs because the cash would weigh in the 100-pound range, compared to $17.5 million in American cash dollars, which would weigh more than 300 pounds. While David frantically scrambles to get the money, Trey is found safe and sound. However, it’s soon discovered that Kyle was the one who was actually kidnapped.

The kidnapper caller admits this mistake but insists that David still has to pay the ransom money. David now hesitates because he needs the money for his plan to buy back Stackin’ Hits. He is torn about what he should do. None of this is spoiler information because it’s the essential plot of the film. Who is behind the kidnapping is spoiler information that has already been revealed in the movie’s trailer but won’t be revealed in this review.

“Highest 2 Lowest” has some gripping and suspenseful scenes, but some of these scenes wrap up too neatly, like a “Law & Order” episode. In addition, the movie occasionally gets too enamored with showing off how many celebrities have cameos as themselves. Former NBA player Rick Fox portrays himself as the co-ed basketball coach of the high school where Trey and Kyle are students.

One of the movie’s biggest action sequences takes place during the annual Puerto Rican Day Parade in New York City. And so, there are extensive shots of the Eddie Palmieri Salsa Orchestra performing, as the action sequence cuts back and forth between the parade and chase scenes happening on the streets and on a subway. Rosie Perez and Anthony Ramos are two other celebrities who appear as themselves on stage at the Puerto Rican Day Parade.

For a movie where the protagonist is a powerful and famous executive in the music business, it’s somewhat baffling that there aren’t any scenes of David interacting with any superstars. Instead, the movie’s only visual indications that David is a celebrity and a “legend” are some quick glimpses of magazines (such as Time and Rolling Stone) that had David on the cover back in the 1990s or 2000s, and those magazines are framed and hanging on the walls of his home or office. David’s musical affections seem rooted in the past, since he name drops old hits from artists such as Stevie Wonder.

Two real-life hip-hop stars have roles in the movie, where they do not portray themselves: A$AP Rocky plays an aspiring rapper named Yung Felon, while Isis “Ice Spice” Gaston has the role of Yung Felon’s live-in girlfriend Marisol Cepeda. Yung Felon’s on-camera scenes are mostly in the last third of the movie. Marisol’s screen time is less than five minutes.

David is also shown politely interacting with a few female singers, who are awed to be in his presence when they audition for him. Jensen McCrae portrays a guitar-playing pop singer named June York. Aiyana-Lee has an impressive scene toward of the film as R&B singer Sula Janie Zimmie, whose stage name is Sula C. Sings. Sula tells David that the “c” in her stage name stands for the word “can.”

“Highest 2 Lowest” has some pointed observations about classism when it’s shown that law enforcement officials give preferential treatment when a crime victim is affluent versus working-class. The investigating officials have a noticeable shift in attitude when it’s discovered that Kyle, not Levi, has been kidnapped. Paul has an arrest record (he finished his parole years ago), but this arrest record causes an obvious bias against him, especially with Detective Higgins, who acts like he’s the alpha male who can be the one to solve this case.

Although the classism issues are accurately presented in “Highest 2 Lowest,” the movie fumbles when it comes to how this kidnapping investigation is depicted. It’s very unrealistic that only three detectives would be assigned to a certain sting operation that’s shown in the movie. Likewise, some of the things that David does to chase after the villain or villains are ludicrous and would not go unnoticed by law enforcement.

“Highest 2 Lowest” also has a very distracting music score by Howard Drossin. Much of the movie is supposed to be an intense thriller, but the movie’s pop-jazzy score music sounds like something that belongs in a romantic melodrama. There’s also an imaginary Yung Felon music video that looks awkwardly inserted in the movie, just to show someone (in this case, A$AP Rocky) performing hip-hop in the movie. And in this movie where there’s a lot of talk about certain characters discovering new music talent, not once is anyone in “Highest 2 Lowest” actually shown going to any live performances to scout for talent.

“Highest 2 Lowest” (which has excellent cinematography from Matthew Libatique) could have used tighter editing. The movie’s 133-minute runtime is a little too long for what the story ends up being. Even with these flaws, “Highest 2 Lowest” is worth seeing for Washington’s standout performance and if you’re curious to see what happens in this kidnapping mystery. “Highest 2 Lowest” is a gripping crime drama about the intersections of legacies and loyalties. There’s a lot that’s entertaining about the movie, but just don’t expect it to be a masterpiece.

Apple Studios and A24 released “Highest 2 Lowest” in select U.S. cinemas on August 15, 2025. Apple TV+ will premiere the movie on September 5, 2025.

UPDATE: “Highest 2 Lowest” will be re-released in U.S. cinemas for one night only on December 6, 2025.

Review: ‘Superman’ (2025), starring David Corenswet, Rachel Brosnahan, Nicholas Hoult

July 8, 2025

by Carla Hay

Rachel Brosnahan and David Corenswet in “Superman” (Photo by Jessica Miglio/Warner Bros. Pictures)

“Superman” (2025)

Directed by James Gunn

Culture Representation: Taking place on Earth and in outer space, the sci-fi/fantasy/action film “Superman” (based on DC Comics characters) features a predominantly white cast of characters (with some African Americans, Latin people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Superman, who has an alter ego as journalist Clark Kent, battles against evil billionaire Lex Luthor.

Culture Audience: “Superman” will appeal mainly to people who are fans of superhero movies, DC Comics and action films that appealing interpretations on familiar characters.

Nicholas Hoult in “Superman” (Photo by Jessica Miglio/Warner Bros. Pictures)

The Superman franchise has a new lease on life with this engaging reboot. This superhero movie (which has Kyrpto as a scene-stealing dog) can get overstuffed with subplots, but it’s got plenty of thrills and comedic moments. The 2025 version of “Superman” is a promising step in the right direction for a new era in movies based on DC Comics.

Written and directed by James Gunn (who became DC Studios’ co-chairman/CEO in 2022), “Superman” is not yet an origin story. The movie takes place during a time when Superman (played by David Corenswet) is already a known superhero in Metropolis, the large U.S. city where he lives and works. (“Superman” was actually filmed in Georgia, Ohio, and Norway.) In the movie, caped crusader Superman is vilified through media manipulation from ruthless billionaire Lex Luthor (played by Nicholas Hoult), who wants his weapon-making company LutherCorp to profit from a European country’s invasion of a Middle Eastern country.

The movie shows through flashbacks and conversations the necessary details of Superman’s backstory: He was born with the name Kal-El on the planet Krypton, and then sent to Earth by his parents when he was baby before his parents died when Krypton exploded. He landed in a field in Smallville, Kansas, where he was found and raised by two working-class farmers—Jonathan “Pa” Kent and Martha “Ma” Kent—who gave him the name Clark Kent. Superman has X-ray vision, the ability to fly, and superpowers in strength and speed. His biggest weakness is an element on is planet called Kryptonite, which has poison effects on Superman if he is exposed to Kryptonite.

Thirty years after baby Clark arrived as a baby on Earth, Clark (also played by Corenswet) is now a somewhat socially awkward journalist at the Daily Planet newspaper. It should come as no surprise that Clark has been the only journalist to be able to get exclusive interviews with the mysterious and elusive Superman. Only a few people on Earth know Clark’s true identity as Superman. One of them is his journalist co-worker Lois Lane (played by by Rachel Brosnahan), who is dating Clark, but the couple decided to keep this romance a secret.

The beginning of “Superman” shows a bloodied and wounded Superman collapsed in the icy snow somewhere in Antarctica. His loyal “superdog” Krypto (a medium-sized male white mixed-breed dog with some Labrador retriever genes) enthusiastically jumps on Superman. A caption in the beginning of the movie mentions that Superman is wounded because three hours ago, he lost his first battle. It’s later revealed what that battle was.

Suddenly, giant stalagmites rise up from the ground, revealing a secret hiding place called the Fortress of Solitude that can emerge and submerge from its underground station. Robots and drones work in this fortress, where Superman is rescued by robots that take him to get medical treatment on an operating table. After an evaluation, Superman is told he only has 83% of his strength, but he is determined to leave and finish the fight, which ends up causing $22 million in property damage and 20 people needing hospital treatment.

During this medical emergency, Superman’s biological parents—Jor-El (played by Bradley Cooper) and Lara (played by Angela Sarafayan)—are seen in hologram form and talking in their native Krypton language. (In this movie, it sounds a lot like Latin.) This hologram recording will play a significant role later in the story.

Someone who has tracked Superman to Antarctica is The Engineer, also known as Angela Spica (played by María Gabriela de Faría), Lex Luthor’s robot that has been manufactured to be a mercenary with superpowers. The Engineer has been given the task of finding and destroying Superman. But by the time she gets to Antarctica, Superman has already left. However, Angela does see signs of the underground fortress.

“Superman” has several different storylines that don’t always mesh well together in the movie. There’s the storyline about Superman wanting to stop the European country of Boravia from invading a more economically vulnerable Middle-Eastern country named Jarhanpur. Boravia’s president Vasil Glarkos (played by Zlatko Burić) is a disheveled brute who is a stereotypical dictator.

There’s also a storyline Superman’s testy and volatile relationship with the Justice Gang: a trio of superheroes sponsored by the corporation LordTech. The members of the Justice Gang are arrogant Green Lantern (played by Nathan Fillion), impulsive Hawkgirl (played by Isabella Merced) and uptight Mr. Terrific (played by Edi Gathegi), who all think that they are better superheroes than Superman. The Justice Gang members are among Superman’s critics who believe that Superman causes too much destruction of property during his heroic deeds.

There’s a storyline of about LuthorCorp inventing a superpowered robot called Ultraman that Lex touts as being stronger than Superman. Ultraman is operated by a team of tech engineers in a control room with video monitors. The engineers all work under the direction of Lex. Ultraman wears a metallic-looking mask. And as soon as you see Ultraman, you don’t have to know DC Comics lore t know there’s going to be a big fight between Ultraman and Superman.

And there’s a storyline about Clark’s relationship with Lois, which has hit a rough patch because Lois has doubts that she and Clark/Superman are a good match for each other. Lois (who describes herself as a former emo rebel) has struggles with the ethics of pursuing stories about Superman while knowing the secrets that she and Clark know. One of the best scenes in the movie between Clark and Lois is when she challenges him to let her interview him as Superman.

The other Daily Planet co-workers who get speaking lines are somewhat underdeveloped in the movie. Jimmy Olsen (played by Skyler Gisondo), a nerdy photojournalist, gets the most screen out of all of these Daily Planet side characters. Daily Planet editor-in-chief Perry White (played by Wendell Pierce) is somewhat generic. Gossip columnist Cat Grant (played by Mikaela Hoover) doesn’t do anything significant and will be remembered more for her cleavage-baring wardrobe than any lines of dialogue that she has in the movie.

Lex’s girlfriend is a giggly social media influencer named Eve Teschmacher (played by Sara Sampaio), who constantly films herself and takes selfies when she tags along as part of Lex’s globe-trotting entourage. Eve might seem like a shallow gold digger at first, but the movie eventually shows that she’s not as dimwitted as she first appears to be. There’s also a dark side of her relationship to Lex that’s briefly shown when he physically assaults her.

“Superman” has some sly jokes that poke fun at the DC Comics franchise. There’s a snide comment made about people not being able to figure out that Superman looks exactly like Clark without glasses. The Green Lantern character is more buffoonish than how he’s usually depicted on screen, with the intention that audiences are supposed to laugh at Green Lantern than laugh with him. Mr. Terrific has a few memorable deadpan jokes.

A character who appeared in 2021’s “The Suicide Squad” (also written and directed by Gunn) and a character from 2026’s “Supergirl” movie make a brief and hilarious cameos. And the Krypto character (who is also from the planet Krypton) is not as trained as the Krypto depicted in DC Comics or animation based on the comics. In this “Superman” movie, Krypto (who does not talk, as he does in other versions of Krypto) is a lovable but very unruly companion, which can be a help or a hindrance.

There’s a fairly good balance of the comedic and serious moments. One of the tearjerking scenes involves Superman’s visit to his adoptive parents Pa Kent (played by Pruitt Taylor Vince) and Ma Kent (played by Neva Howell) when Superman has an identity crisis. Some viewers might think that the Justice Gang makes the movie too crowded with superheroes, while other viewers might think it’s important to show that not all of Superman’s opponents are villains.

Corenswet capably handles the movie’s lead duel role. Brosnahan also does a good job in portraying Lois as independent and a free thinker. But as far romantic sizzle goes, the Superman/Clark and Lois in this movie don’t generate a lot of heat. Hoult’s depiction of chief villain Lex is effective, but there are billionaire moguls in real life who are a lot more menacing. The truth is that the villains in “Superman” comics and movies just aren’t as interesting as the villains in “Batman” comics and movies.

“Superman” is not an overtly political film. However, the movie has pointed observations on how immigrants can be perceived and mistreated by those who are “natives.” Cultural supremacy is also inflicted by the story’s war villains. The cast members mostly have believable chemistry, whether they are allies or foes.

The movie’s visual effects live up to expectations. The movie’s mid-credits scene and end-credits scene do not tease what could happen in a sequel but are instead very short comedic scenes that aren’t crucial to the story. The 2025 version of “Superman” might not rank in the Top 5 as one of the all-time best superhero movies, but it’s certainly one of the best “Superman” movies that should please most fans.

Warner Bros. Pictures will release “Superman” in U.S. cinemas on July 11, 2025. A sneak preview of the movie was shown in U.S. cinemas on July 8, 2025.

2025 Tony Awards: ‘Buena Vista Social Club,’ ‘Death Becomes Her,’ ‘Maybe Happy Ending’ are the top nominees

May 1, 2025

[Editor’s Note: With 10 nominations each, “Buena Vista Social Club,” “Death Becomes Her” and “Maybe Happy Ending” have the most nominations for the 2025 Tony Awards.]

The following is a press release from the Tony Awards:

Nominations in 26 competitive categories for the American Theatre Wing’s 78th Annual Antoinette Perry Tony Awards® were announced by Tony Award winners Sarah Paulson and Wendell Pierce.  The nominees were selected by an independent committee of 54 theatre professionals appointed by the Tony Awards Administration Committee. The 2025 Tony Awards are presented by The Broadway League and the American Theatre Wing. (The list of nominations follows.)

The 78th Annual Tony Awards will return to the legendary Radio City Music Hall in New York City next month. Hosted by Tony, Emmy, and GRAMMY Award-winner and three-time Oscar nominee Cynthia Erivo, The American Theatre Wing’s Tony Awards will broadcast LIVE to both coasts on Sunday, June 8, 2025 (8:00 – 11:00 PM ET/5:00 – 8:00 PM PT) on the CBS Television Network, and streaming on Paramount+ in the U.S.*         

CBS and Pluto TV will present The Tony Awards: Act One, a pre-show of live, exclusive content leading into the 78th Annual Tony Awards. Additional details will be available at a future date.

Legitimate theatrical productions opening in any of the 41 eligible Broadway theatres during the current season may be considered for Tony nominations. The 2024/2025 eligibility season began April 26, 2024 and ended April 27, 2025. The Tony Awards will be voted in 26 competitive categories by 840 designated Tony voters within the theatre community.

Special Tony Awards will be presented to:

  • The musicians who make up the band of Buena Vista Social Club – Marco Paguia (Music Director, Conductor/Piano); David Oquendo (Associate Music Director, Guitar); Renesito Avich (Tres); Gustavo Schartz (Bass); Javier Días, Román Diaz, Mauricio Herrera (Percussion); Jesus Ricardo (Trumpet); Eddie Venegas (Trombone); Hery Paz (Woodwinds); Leonardo Reyna (Piano);
  • The Illusions & Technical Effects of Stranger Things: The First Shadow (Jamie Harrison, Chris Fisher, Gary Beestone & Edward Pierce). 

As previously announced, the 2025 Tony Honors for Excellence in the Theatre will be presented to Great Performances, Michael Price, New 42, and The New York Public Library for the Performing Arts. The Isabelle Stevenson Tony Award will be presented to Celia Keenan-Bolger. Harvey Fierstein will receive the Special Tony Award for Lifetime Achievement in the Theatre.

The 2024-2025 Tony Award Nominating Committee consists of: Bob Balaban, Danielle Barlow, Rick Boynton, Brian Harlan Brooks, Dr. Jamie Cacciola-Price, Kevin Cahoon, Adam Chanler-Berat, Victoria Clark, Jordan E. Cooper, Dan Foster, Donald P. Gagnon, Ph.D., Deeksha Gaur, Linda Goodrich, Miranda Haymon, James Ijames, Michael R. Jackson, Christine Toy Johnson, Rosalie Joseph, Rod Kaats, Michael Korie, Kathy Landau, Andrea Lauer, Zhailon Levingston, Jose Llana, Peter Marks, Jess McLeod, Lisa McNulty, Ira Mont, Jacqueline Diane Moscou, Helen Park, Jessica Paz, Georgina Pazcoguin, Ralph B. Peña, Karen Perry, Nancy Piccione, Jill Rafson, Bill Rauch, T. Oliver Reid, Liam Robinson, Carole Rothman, Susan Sampliner, Dick Scanlan, Florie Seery, Rachel Sheinkin, Devario Simmons, Walt Spangler, Mark Stanley, Susan Soon He Stanton, Sam Strasfeld, Jason Tam, Reginald Van Lee, Alexandria Wailes, Ben Wexler, and David C. Woolard.

A limited number of tickets to the show are now on sale to the general public. Ticket prices begin at $595 for seats in the second and third mezzanines and are available for purchase at TonyAwards.com and Ticketmaster.com. There is a six ticket limit and all ticket sales are final (Ticketmaster services charges will apply).

The Tony Awards are produced in collaboration with Tony Award Productions, a joint venture of the American Theatre Wing and The Broadway League, and White Cherry Entertainment. Ricky Kirshner and Glenn Weiss are executive producers and showrunners for White Cherry Entertainment. Weiss will serve as director.

About the Tony Awards

The American Theatre Wing’s Tony Awards are presented by The Broadway League and the American Theatre Wing.  At The Broadway League, Kristin Caskey is Chair and Jason Laks is President.  At the American Theatre Wing, Emilio Sosa is Chair and Heather A. Hitchens is President & CEO.

Sponsors for the American Theatre Wing’s Tony Awards include: City National Bank – the official bank of The Tony Awards; American Express – the official payments partner of The Tony Awards; Carnegie Mellon University – the first-ever, exclusive higher education partner; Baccarat – the official partner of the Tony Awards; Cunard – the official cruise partner of The Tony Awards; Dewar’s – the official scotch whisky of The Tony Awards; Rockefeller Center – the official home of the Tony Awards red carpet and events; Sofitel New York – the official hotel of The Tony Awards; Playbill; Rainbow Room – the official partner of the Tony Nominee Luncheon.

Follow @TheTonyAwards on Instagram, TikTok and Facebook.

*Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.

# # #

Nominations for the 2024-2025 Season American Theatre Wing’s Tony Awards®

Presented by The Broadway League and the American Theatre Wing

Best Book of a Musical

  • Buena Vista Social Club, Marco Ramirez
  • Dead Outlaw, Itamar Moses
  • Death Becomes Her, Marco Pennette
  • Maybe Happy Ending, Will Aronson and Hue Park
  • Operation Mincemeat: A New Musical, David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

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

  • Dead Outlaw, Music & Lyrics: David Yazbek and Erik Della Penna
  • Death Becomes Her, Music & Lyrics: Julia Mattison and Noel Carey
  • Maybe Happy Ending, Music: Will Aronson; Lyrics:  Will Aronson and Hue Park
  • Operation Mincemeat: A New Musical, Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
  • Real Women Have Curves: The Musical, Music & Lyrics: Joy Huerta and Benjamin Velez

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

  • George Clooney, Good Night, and Good Luck
  • Cole Escola, Oh, Mary!
  • Jon Michael Hill, Purpose
  • Daniel Dae Kim, Yellow Face
  • Harry Lennix, Purpose
  • Louis McCartney, Stranger Things: The First Shadow

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

  • Laura Donnelly, The Hills of California
  • Mia Farrow, The Roommate
  • LaTanya Richardson Jackson, Purpose
  • Sadie Sink, John Proctor is the Villain
  • Sarah Snook, The Picture of Dorian Gray

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

  • Darren Criss, Maybe Happy Ending
  • Andrew Durand, Dead Outlaw
  • Tom Francis, Sunset Blvd.
  • Jonathan Groff, Just in Time
  • James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical
  • Jeremy Jordan, Floyd Collins

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

  • Megan Hilty, Death Becomes Her
  • Audra McDonald, Gypsy
  • Jasmine Amy Rogers, BOOP! The Musical
  • Nicole Scherzinger, Sunset Blvd.
  • Jennifer Simard, Death Becomes Her

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

  • Glenn Davis, Purpose
  • Gabriel Ebert, John Proctor is the Villain
  • Francis Jue, Yellow Face
  • Bob Odenkirk, Glengarry Glen Ross
  • Conrad Ricamora, Oh, Mary!

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

  • Tala Ashe, English
  • Jessica Hecht, Eureka Day
  • Marjan Neshat, English
  • Fina Strazza, John Proctor is the Villain
  • Kara Young, Purpose

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

  • Brooks Ashmanskas, SMASH
  • Jeb Brown, Dead Outlaw
  • Danny Burstein, Gypsy
  • Jak Malone, Operation Mincemeat: A New Musical
  • Taylor Trensch, Floyd Collins

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

  • Natalie Venetia Belcon, Buena Vista Social Club
  • Julia Knitel, Dead Outlaw
  • Gracie Lawrence, Just in Time
  • Justina Machado, Real Women Have Curves: The Musical
  • Joy Woods, Gypsy

Best Scenic Design of a Play

  • Marsha Ginsberg, English
  • Rob Howell, The Hills of California
  • Marg Horwell and David Bergman, The Picture of Dorian Gray
  • Miriam Buether and 59, Stranger Things: The First Shadow
  • Scott Pask, Good Night, and Good Luck

Best Scenic Design of a Musical

  • Rachel Hauck, Swept Away
  • Dane Laffrey and George Reeve, Maybe Happy Ending
  • Arnulfo Maldonado, Buena Vista Social Club
  • Derek McLane, Death Becomes Her
  • Derek McLane, Just in Time

Best Costume Design of a Play

  • Brenda Abbandandolo, Good Night, and Good Luck
  • Marg Horwell, The Picture of Dorian Gray
  • Rob Howell, The Hills of California
  • Holly Pierson, Oh, Mary!
  • Brigitte Reiffenstuel, Stranger Things: The First Shadow

Best Costume Design of a Musical

  • Dede Ayite, Buena Vista Social Club
  • Gregg Barnes, BOOP! The Musical
  • Clint Ramos, Maybe Happy Ending
  • Paul Tazewell, Death Becomes Her
  • Catherine Zuber, Just in Time

Best Lighting Design of a Play

  • Natasha Chivers, The Hills of California
  • Jon Clark, Stranger Things: The First Shadow
  • Heather Gilbert and David Bengali, Good Night, and Good Luck
  • Natasha Katz and Hannah Wasileski, John Proctor is the Villain
  • Nick Schlieper, The Picture of Dorian Gray

Best Lighting Design of a Musical

  • Jack Knowles, Sunset Blvd.
  • Tyler Micoleau, Buena Vista Social Club
  • Scott Zielinski and Ruey Horng Sun, Floyd Collins
  • Ben Stanton, Maybe Happy Ending
  • Justin Townsend, Death Becomes Her

Best Sound Design of a Play

  • Paul Arditti, Stranger Things: The First Shadow
  • Palmer Hefferan, John Proctor is the Villain
  • Daniel Kluger, Good Night, and Good Luck
  • Nick Powell, The Hills of California
  • Clemence Williams, The Picture of Dorian Gray

Best Sound Design of a Musical

  • Jonathan Deans, Buena Vista Social Club
  • Adam Fisher, Sunset Blvd.
  • Peter Hylenski, Just in Time
  • Peter Hylenski, Maybe Happy Ending
  • Dan Moses Schreier, Floyd Collins

Best Direction of a Play

  • Knud Adams, English
  • Sam Mendes, The Hills of California
  • Sam Pinkleton, Oh, Mary!
  • Danya Taymor, John Proctor is the Villain
  • Kip Williams, The Picture of Dorian Gray

Best Direction of a Musical

  • Saheem Ali, Buena Vista Social Club
  • Michael Arden, Maybe Happy Ending
  • David Cromer, Dead Outlaw
  • Christopher Gattelli, Death Becomes Her
  • Jamie Lloyd, Sunset Blvd.

Best Choreography

  • Joshua Bergasse, SMASH
  • Camille A. Brown, Gypsy
  • Christopher Gattelli, Death Becomes Her
  • Jerry Mitchell, BOOP! The Musical
  • Patricia Delgado and Justin Peck, Buena Vista Social Club

Best Orchestrations

  • Andrew Resnick and Michael Thurber, Just in Time
  • Will Aronson, Maybe Happy Ending
  • Bruce Coughlin, Floyd Collins
  • Marco Paguia, Buena Vista Social Club
  • David Cullen and Andrew Lloyd Webber, Sunset Blvd.

Best Play

English
Author: Sanaz Toossi
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Steven Showalter, Atlantic Theater Company

The Hills of California
Author: Jez Butterworth
Producers: Sonia Friedman Productions, No Guarantees Productions, Neal Street Productions, Brian Spector, Sand & Snow Entertainment, Stephanie P. McClelland, Barry Diller, Reade St. Productions, Van Dean, Andrew Paradis/We R Broadway Artists Alliance, Patty Baker, Wendy Bingham Cox, Bob Boyett, Butcher Brothers, Caitlin Clements, Kallish Weinstein Creative, Michael Scott, Steven Toll & Randy Jones Toll, City Cowboy Productions/Jamie deRoy, JKVL Productions/Padgett Ross Productions, Koenigsberg Riley/Tulchin Bartner Productions, Todd B. Rubin/Carlos Medina, Silly Bears Productions/Omara Productions, Michael Wolk/Cali e Amici, Manhattan Theatre Club, Lynne Meadow, Chris Jennings

John Proctor is the Villain

Author: Kimberly Belflower

Producers: Sue Wagner, John  Johnson, John Mara, Jr., Runyonland, Eric  Falkenstein, Jillian  Robbins, Jen  Hoguet, Rialto Productions, Corets Gough Kench Cohen, The Shubert Organization, James L. Nederlander, John Gore Organization, Patty  Baker, Cue to Cue Productions, Echo Lake Entertainment, Harris Rubin Productions, Klausner & Zell, Jennifer  Kroman, Mickey Liddell & Pete Shilaimon, Mahnster Productions, Nathan Winoto, The Cohn Sisters & Stifelman-Burkhardt, Astro Lab Productions, Creative Partners Productions, Sarah Daniels & Christopher Barrett, Frimmer & Benmosche, Joan Rechnitz, Melissa Chamberlain & Michael McCartney, Pam Hurst-Della Pietra & Stephen Della Pietra, McCaffrey & Demar, Alan & Peggy Mendelson, Newport & Smerigan, Jamie  deRoy, Jaime Gleicher, Wes  Grantom, Meena Harris & Jessica Foung, Los Angeles Media Fund, Corey Steinfast, SunnySpot & Valentine, Turchin Clements, Jane Bergère & Douglas Denoff, Amy Wen & Meister Leonard, 7th Inning Stretch & Stella La Rue, Indie Slingshot, Annaleise  Loxton

Oh, Mary!
Author: Cole Escola
Producers: Kevin McCollum & Lucas McMahon, Mike Lavoie & Carlee Briglia, Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, ShowTown Productions

Purpose

Author: Branden Jacobs-Jenkins

Producers: David Stone, Debra Martin Chase, Marc Platt, LaChanze, Rashad V. Chambers, Aaron Glick, Universal Theatrical Group, Eastern Standard Time, Trate Productions, Nancy Nagel Gibbs, James L. Nederlander, John Gore, ATG Entertainment, The Shubert Organization, Steppenwolf Theatre Company

Best Musical

Buena Vista Social Club
Producers: Orin Wolf, John Styles, Jr., Barbara Broccoli, Atlantic Theater Company, Viajes Miranda, LaChanze, David Yazbek, John Leguizamo, David F. Schwartz, Zak Kilberg, J. Todd Harris, Cabo Productions, Roy Furman, Hannah Rosenthal, Jamie deRoy/Marvin Rosen, Grove  • REG & Frank Marshall, F.K.R.J. Productions, Patrick Milling-Smith/Brian Carmody, DJ Stage Productions, Palitz Wiesenfeld Productions, Richard & Roberta Shaker, Front Row Productions, Cathy Dantchik, Brooke & Brian Devine, Gilad Rogowsky, MacPac Entertainment, No Guarantees Productions, Rhythm & Rain Productions, Hadley Schnuck, James Francis Trezza, Yonge Street Theatricals, Patrick Daly, Olympus Theatricals/Firemused Productions, Ioana Alfonso/Eric Stine, William Berlind/W.M. Klausner, Creative Endeavor Office/Untitled Theatricals, Ruth Hendel/The Kaplans, Pam Hurst-Della Pietra/Philip Van Dijk, Debbie Ohanian/Stone Arch Theatricals, Composite Capital Partners, Larry Levien, Matt Murphy, Marc Platt, Sandy Robertson, Iris Smith, Thomas Steven Perakos/Douglas A. Fellman, Brad Blume/The Klaes’, Ankit Agrawal/Constance Cincotta, Independent Presenters Network, Nick & Nicky Gold, HoriPro Inc., Playful Productions UK, The Shubert Organization, Frederick Zollo, John Gore Organization, Nederlander Presentations Inc., Marco Ramirez, Allan Williams

Dead Outlaw
Producers: Lia Vollack Productions, Sonia Friedman Productions, Roy Furman, Ken & Janet Schur, Cue to Cue Productions, James Bolosh/Hillary Wyatt, Carl Moellenberg/Ricardo Hornos, Carl & Jennifer Pasbjerg/H2H Concord Theatricals, Masquerade Partners, Douglas Denoff, John Gore Organization, GFour Productions, Brian Hedden, KFRJ Productions, Lang Entertainment Group, James L. Nederlander, Marvin  Rosen, Stanely S. Shuman, James L. Walker, Jr., Winkler & Smalberg, 42nd.club/Aligned Theatricals, Craig Balsam/Richard Batchelder, Jane Bergère/Willette and Manny Klausner, The Broadway Investor’s Club/Eastern Standard Time, Barbara Chiodo/Adam Cohen, Merrie L. Davis/Tony Spinosa, Noah Eisenberg/Sue Drew, Robin Gorman Newman/Laurence Padgett Productions, LLPR Productions/Patinogal, Mary Maggio/Janet Rosen, Thomas Swayne, Lawryn LaCroix, Audible

Death Becomes Her
Producers: Universal Theatrical Group, James L. Nederlander, Steven Spielberg & Kate Capshaw, Jason Blum & James Wan, Debra Martin Chase, John Gore Organization, Marc Platt, Lowe Cunningham, Marcia Goldberg

Maybe Happy Ending
Producers: Jeffrey Richards, Hunter Arnold, Darren Criss, Dr. Pam Hurst-Della Pietra & Stephen Della Pietra, NHN Link Corporation, Greg & Lisa Love, Kayla Greenspan, Jayne Baron Sherman, Louise Gund, Spencer Ross, Yonge Street Theatricals, Ruth Hendel, Kaplan-Gopal-MMC, Adam Zotovich, At Rise Creative, Broadway Strategic Return Fund, Curt Cronin, Fahs Productions, Greg Field, Paul Gavriani/Michael Patrick, Rebecca Gold, Grace Street Creative Group, John Gore Organization, Willette & Manny Klausner, Kent Knudsen, James L. Nederlander, Salmira Productions, The Shubert Organization, Jacob Stuckelman & John Albert Harris, Wooran Foundation, You Should Smile More Productions, Mark and David Golub Productions, Diego Kolankowsky, Takonkiet Viravan, Brad Blume, Will Aronson & Hue Park, Hugo Six, Clarissa Cueva, Ali Daylami, Maia Kayla Glasman, Patrick W. Jones, Brandon J. Schwartz, Allan Williams

Operation Mincemeat: A New Musical

Producers: Avalon, SpitLip, Jon Thoday, Richard Allen-Turner, Bryan McCaffrey, Walport Productions, LeftNoRing Productions, Barbara Chiodo, Feuille Dooley North Productions, The Shubert Organization, Ken Davenport, Steve & Paula Reynolds, Concord Theatricals, Byron Grote & Susan Miller, John Gore Organization, M. Kilburg Reedy, Sony Music Entertainment, You Should Smile More Productions, Tom Smedes & Peter Stern, Judith Ann Abrams Productions/The Broadway Investor’s Club, Lang Entertainment Group, Alli Folk/Evelyn Hoffman & Gregory Stern, Nick Flatto/Evan & Claudia Caplan Reynolds, Larry Hirschhorn & Ricardo Hornos/Carl & Jennifer Pasbjerg, Independent Presenters Network/Lloyd Tichio Productions, Kendall Kellaway III/Megan Minutillo, Blume Johnson Rubin & Silver, Russell Citron, The Council, Jamie deRoy & Brian Rooney/Corey Brunish & Matthew P. Hui, Dodge Hall Productions, 42nd.club, IJB Productions, Mickey Liddell & Pete Shilaimon, Stephanie P. McClelland, James L. Simon, Mark Weinstein, Adam Cohen/Nick Padgett, Vibecke Dahle Dellapolla/Lynnette Barkley, Willette & Manny Klausner/Elizabeth Faulkner Salem, Michael Page/Burnt Umber Productions, Wallace-Phoebe/Laurie Oki & Alexander Oki, Margot Astrachan/TT Partners, Andrew Fell

Best Revival of a Play

Eureka Day

Author: Jonathan Spector

Producers: Manhattan Theatre Club, Lynne Meadow, Chris Jennings

Romeo + Juliet

Producers: Seaview, Harbor Entertainment, Kevin Ryan, Eric & Marsi Gardiner, Roth-Manella Productions, Kate Cannova, J + J Productions, Julie Boardman, Alexander-Taylor Deignan, Atekwana Hutton, Bensmihen Mann Productions, Patrick Catullo, Chutzpah Productions, Corets Gough Willman Productions, Dave Johnson Productions, DJD Productions, Hornos Moellenberg, Pam Hurst-Della Pietra & Stephen Della Pietra, Mark Gordon Pictures, Oren Michels, No Guarantees Productions, Nothing Ventured Productions, Strus Lynch, Sunset Cruz Productions, Dennis Trunfio, Stephen C. Byrd, Fourth Wall Theatricals, Level Forward, Soto Productions, WMKlausner

Thornton Wilder’s Our Town
Producers: Jeffrey Richards, Samsational Entertainment, Louise Gund, Eric Falkenstein, Suzanne Grant, Patty Baker, Daryl Roth/Tom Tuft, Ronald Frankel, Rebecca Gold, Gabrielle Palitz, Brunish-Rooney-Hui/Laura Little, Thom and Karen Lauzon, Pamela Hurst-Della Pietra & Stephen Della Pietra, Score 3 Partners, Secret Hideout, David S. Stone, Craig Balsam, John Gore Organization, Caiola Productions, Concord Theatricals, Melissa & Bradford Coolidge, Irene Gandy, Kenny Leon, Willette & Manny Klausner, Andrew Marderian-Davis, Ellen Susman, Leslie Rainbolt, Randy Jones Toll & Steven Toll, James S. Levine, Hank & Kara Steinberg, Alexander “Sandy” Marshall, Ken & Rande Greiner/David Schwartz & Trudy Zohn, Patrick W. Jones, Maia Kayla Glasman, Brandon J. Schwartz, The Shubert Organization

Yellow Face
Author: David Henry Hwang
Producers: Roundabout Theatre Company, Todd Haimes, Scott Ellis, Sydney Beers, Christopher Nave, Steven Showalter

Best Revival of a Musical

Floyd Collins
Book/Additional Lyrics: Tina Landau    
Music & Lyrics: Adam Guettel
Producers: Lincoln Center Theater, André  Bishop, Adam  Siegel, Naomi  Grabel, Ira Weitzman, Creative Partners Productions, Mark Cortale & Charles D. Urstadt

Gypsy
Producers: Tom Kirdahy, Mara Isaacs, Kevin Ryan, Diane Scott Carter, Wendy Federman & Heni Koenigsberg, Roy Furman, Viajes Miranda, Kerry Washington, Peter May, Thomas M. Neff, Cynthia J. Tong, Adam Hyndman, A Perfect Team Productions, Cue to Cue Productions, Da Silva Stone, DMQR Productions, Grant Spark Productions, Marguerite Steed Hoffman, KarmaHendelMcCabe, James L. Nederlander, Janet and Marvin Rosen, Archer Entertainment, Dale Franzen, 42nd.club, Rob Acton, All That JJAS, Mike Audet, Patty Baker, Cohen Soto, Concord Theatricals, Creative Partners Productions, Crumhale Taylor Productions, Ken Davenport, DJD Productions, Flipswitch Entertainment, Frankly Spoken Productions, Roy Gabay, Happy Recap Productions, Sandra and Howard Hoffen, John Gore Organization, Johnson Maggio Productions, Willette and Manny Klausner, Kors Le Pere Theatricals, LaCroix Eisenberg, David Lai, Little Lamb Productions, Bill and Sally Martin, Mohari Media, No Guarantees Productions, Pam Hurst-Della Pietra and Stephen Della Pietra, Regian Davison, Lamar Richardson, Patti and Michael Roberts, RTK Rose, Score 3 Partners, Silva Theatrical Group, Some People, Stone Arch Theatricals, Storyboard Entertainment LE, Mary and Jay Sullivan, The Adams Hendel Group, The Array VI, The Broadway Investor’s Club, Theatre Producers of Color, Tom Tuft, TreAmici Gooding, Waiting in the Wings Productions, Whitney Williams, Sara Beth Zivitz, Jamila Ponton Bragg, The Industry Standard Group

Pirates! The Penzance Musical
Producers: Roundabout Theatre Company, Todd  Haimes, Scott  Ellis, Sydney  Beers, Christopher  Nave, Steven  Showalter, James L. Nederlander, Fran and Paul Turner, ATG Productions/Gavin Kalin Productions

Sunset Blvd.
Producers: The Jamie Lloyd Company, ATG Productions, Michael Harrison for Lloyd Webber Harrison Musicals, Gavin Kalin Productions, Wessex Grove, Christopher Ketner, Aleri Entertainment, Sonia Friedman, Roth-Manella Productions, Winkler Smalberg, Caitlin Clements, 42nd.club, Abrams Johnson, Aron on Broadway, The Array V, At Rise Creative, Bad Robot Live, Craig Balsam, Greg Berlanti, Boardman Cannova Productions, Bob Boyett, Burnt Umber Productions, Patrick Catullo, Crane McGill Trunfio, Core Four Productions, Nicole Eisenberg, The Factor Gavin Partnership, Federman Jenen Koenigsberg, Forshaw Turchin, John Gore, Jake Hine, LAMF Secret Hideout, Jack Lane, Lang Entertainment Group, Lelli Armstrong, Alex Levy, Luftig Reade St. Kawana, Mary Maggio, Jay Marcus, Stephanie P. McClelland, James L. Nederlander, No Guarantees Productions, P3 Productions, Thomas Steven Perakos, Pam Hurst-Della Pietra, Shari Redstone, Regian Davison Buckman, Sand & Snow Entertainment, SBK Productions, The Shubert Organization, Smedes Stern Productions, Tilted, Willowrow Entertainment, WMKlausner

Tony Nominations by Production

Buena Vista Social Club – 10

Death Becomes Her – 10

Maybe Happy Ending – 10

Dead Outlaw – 7

John Proctor is the Villain – 7

Sunset Blvd. – 7

The Hills of California – 7

Floyd Collins – 6

Just in Time – 6

Purpose – 6

The Picture of Dorian Gray – 6

English – 5

Good Night, and Good Luck – 5

Gypsy – 5

Oh, Mary! – 5

Stranger Things: The First Shadow – 5

Operation Mincemeat: A New Musical – 4

BOOP! The Musical – 3

Yellow Face – 3

Eureka Day – 2

Real Women Have Curves: The Musical – 2

SMASH – 2

A Wonderful World: The Louis Armstrong Musical – 1

Glengarry Glen Ross – 1

Pirates! The Penzance Musical – 1

Romeo + Juliet – 1

Swept Away – 1

The Roommate – 1

Thornton Wilder’s Our Town – 1

Review: ‘Thunderbolts*,’ starring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, David Harbour, Hannah John-Kamen and Julia Louis-Dreyfus

April 29, 2025

by Carla Hay

Hannah John-Kamen, Lewis Pullman, Wyatt Russell, David Harbour, Florence Pugh and Sebastian Stan in “Thunderbolts*” (Photo by Chuck Zlotnick/Marvel Studios)

“Thunderbolts*”

Directed by Jake Schreier

Culture Representation: Taking place in the Washington, D.C., area and in New York City (and briefly in Malaysia), the sci-fi/fantasy/action film “Thunderbolts*” (based on Marvel Comics characters) features a predominantly white cast of characters (with a few African Americans, Asians and multiracial people) representing the working-class, middle-class and wealthy.

Culture Clash: A ragtag group of superheroes battle against a corrupt CIA director and a mysterious supervillain, as some of the superheroes cope with mental health issues.

Culture Audience: “Thunderbolts*” will appeal mainly to people who are fans of the movie’s headliners and superhero movies that offer a more psychological perspective of the effects of superhero activity.

Pictured in center: Geraldine Viswanathan and Julia Louis-Dreyfus in “Thunderbolts*” (Photo by Steve Swisher/Marvel Studios)

“Thunderbolts*” could be subtitled “Therapy for Superheroes” because the overarching theme is how superheroes cope with depression, guilt and anxiety. Thrilling action scenes and wisecracking jokes are mixed with trauma bonding, to mostly effective results. It works well-enough in this superhero movie because of the talented cast and because the movie’s tone and direction handle these issues with enough realistic compassion instead of wallowing in mawkishness.

Directed by Jake Schreier, “Thunderbolts*” was written by Eric Pearson and Joanna Calo. The screenwriting duo of Pearson and Calo is an inspired pairing because Pearson is mostly known for writing action films (including the 2021 Marvel superhero movie “Black Widow”), while Calo is known as an Emmy-winning co-showrunner for the FX on Hulu series “The Bear,” a show that mixes comedy with drama. “The Bear” tackles a lot of issues about how people are affected by families and childhood experiences. Many of these issues are in “Thunderbolts*” without the movie losing its superhero focus.

The Marvel Cinematic Universe (MCU) has become a complex web of stories that usually require seeing at least one previous Marvel movie to fully understand the plot and characters’ motives. In order for “Thunderbolts*” to resonate the most with viewers, it’s helpful for viewers to have at least seen “Black Widow” and the 2021 Disney+ limited series “The Falcon and the Winter Soldier.” The 2018 movie “Ant-Man and the Wasp” and the 2019 movie “Avengers Endgame” are also suggested viewings, but they’re not essential to understanding the “Thunderbolts*” plot.

“Thunderbolts*” (the asterisk in the title is explained in the movie) begins by showing trained mercenary Yelena Belova (played by Florence Pugh), a native of Russia, standing on the top of the Merdeka 118 skyscraper building in Kuala Lumpur, Malaysia. In a voiceover, she’s heard saying in a morose tone: “There’s something wrong with me—an emptiness. I thought it started when my sister died, but it’s something bigger—a void. Or maybe I’m just bored.” Yelena then jumps off of the skyscraper.

Is Yelena suicidal? Maybe. But she isn’t attempting suicide in this scene. She’s testing her aerial limits before doing what she has vowed will be her last mercenary job for the U.S. government. As already seen in the prequel movie “Black Widow,” Yelena is the younger adoptive sister of Natasha Romanoff, also known as Black Widow (played by Scarlett Johansson), who were both underwent brutal assassin/spy training as children in Russia. They trained in a notorious facility called the Red Room. Natasha/Black Widow died at the end of “Avengers Endgame.”

Yelena is currently living in the United States (in or near Washington, D.C.) and works as a mercenary for hire dong covert missions. In the beginning of the movie, she reports to CIA director Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), who made a brief appearance at the end of “Black Widow” and had a prominent role in “The Falcon and the Winter Soldier.” Valentina is corrupt and devious but hides her true nature by pretending with perky mannerisms and by saying that her life mission is to protect the people of the United States.

After this confessional monologue where Yelena says she’s feeling depressed, Yelena is seen invading a scientific lab and getting into fights to complete a mission to defeat people (scientists and armed guards) in the lab. One of the scientists who’s captured asks her why she’s there. “I’m in the cleanup business,” Yelena says in a deadpan voice. During this battle, one of the scientists says to Yelena: “Tell Valentina she’s making a mistake.”

What is this lab? And why does Valentina want it shut down? Those questions are answered in the movie. In the meantime, Yelena eventually tells Valentina that Yelena wants to quit the mercenary work because of job burnout. Yelena says that she would rather do more positive “public-facing” work where she gets to interact with people in more heroic and feel-good situations.

Also living in or near Washington, D.C., is boisterously loud Alexei Shostakov, also known as Red Guardian (played by David Harbour), who is Yelena’s adoptive father. Yelena goes to visit Alexei to tell him that she’s quitting her line of work. She hasn’t seen Alexei in years because of the events that happened in “Black Widow.”

Alexei is also going through his own depression issues for the opposite reasons: He misses being a “superhero” who works for a government, which is the status that he had in Russia about 30 years ago. Alexei and his former partner Melina Vostokoff (played by Rachel Weisz) raised Natasha and Yelena as a dysfunctional yet loving family of spies. Melina’s fate is shown in “Black Widow.”

Yelena sees that Alexei (a bachelor who lives alone) is living in a messy house, drinking a lot of alcohol, and operating a small business called Red Guardian Limo service, where he is the only employee and he has only one ramshackle old limo. The limo has the company slogan on the side of the car: “Protecting You From Boring Evening.” This slogan becomes a little bit of a running joke in the movie.

Alexei tries to hide his depression by pretending to Yelena that he’s doing well. She doesn’t believe him because she sees how unkempt Alexei and his home are. When Yelena tells Alexei that she wants to quit her job, Alexei is alarmed and disappointed. He tells her that he “would kill” to have the type of job that Yelena is about to quit.

Valentina is going through her own career problems. She is in the midst of impeachment hearings, where she denies all the accusations of corruption against her. In one of these hearings, she makes a statement what she has fully divested herself from any ownership in O.X.E., a company involved in secretive scientific research, but she still is a consulting member of O.X.E.’s board of directors.

Valentina’s main enemy in this impeachment proceeding is Congressman Gary (played by Wendell Pierce), who is leading the interrogations during the hearings. Congressman Gary only has a few scenes in the movie, but he’s made it clear that he doesn’t trust Valentina and he thinks she should be impeached. Anyone familiar with the Valentina character will already know that she’s the chief mastermind villain in “Thunderbolts*,” although she gets help from some other people whom she manipulates.

Bucky Barnes, also known as the Winter Soldier (played by Sebastian Stan), is also in Washington, D.C.—this time as a first-term U.S. congressman. In Marvel Comics and in the MCU, Bucky is a “frenemy” of Captain America and has been a mostly a hero but sometimes a villain. In the MCU, Bucky was born in 1925, but his Winter Soldier superpowers have extended his life and allowed him to keep his physical appearance as an adult under the age of 50.

Valentina wants Bucky to be her ally, so Valentina sends her loyal assistant Mel (played by Geraldine Viswanathan) to reach out to Bucky and see if he can be helpful to Valentina. Mel is a mostly wide-eyed sidekick. The more that Mel finds out about Valentina’s real agenda, the more that Mel starts to question if she should stay loyal to Valentina.

Valentina isn’t ready to let Yelena go when Yelena tells her that Yelena no longer wants to be an undercover mercenary. Valentina orders Yelena to do one last mission: Go to a secret facility that has O.X.E.’s most secretive assets, find out who’s been stealing the assets, and kill whoever is responsible for the thefts. Yelena reluctantly does what she has told but finds out it’s a trap set by Valentina, who lured some other people in the trap.

At this facility, Yelena battles with arrogant John Walker, also known as U.S. Agent (played by Wyatt Russell); tough-minded Ava Starr, also known as Ghost (played by Hannah John-Kamen), who has the ability to make herself invisible for a few minutes at a time; and mute Antonia Dreykov, also known as Taskmaster (played by Olga Kurylenko), who have all been villains at one time or another in the MCU. Taskmaster is not in the “Thunderbolts*” as much as these other characters. She remains the most mysterious character in the group.

For reasons shown in “Thunderbolts*,” Taskmaster eventually goes away in this battle. Yelena, John and Ghost find out that they are stuck in the facility with a confused and mild-mannered man named Robert “Bob” Reynolds (played by Lewis Pullman), who suddenly appears during the ruckus. Bob is wearing the type of outfit that hospital patients wear. It’s later revealed that Bob has a troubled past as a meth addict, and he is a survivor of childhood abuse from his father.

As already revealed in the marketing for “Thunderbolts*,” the people in this ragtag group of superheroes and anti-heroes are Yelena, Bucky, John, Red Dragon and Ghost. Bob (who doesn’t remember certain things) has sides to himself that are eventually revealed in the movie. Valentina has plans to introduce a “supersoldier” named Sentry who will do her bidding. The movie’s visual effects are adequately convincing but not outstanding.

Another running joke in the movie is how the group got the name Thunderbolts, which is a name that most of the members do not want for the group. There’s a scene where Yelena and Alexei reminisce about something embarrassing from her childhood that she doesn’t want a lot of people to know about her: When she was a girl, Yelena was part of a junior soccer team called the Thunderbolts, which never won a game. Compared to the highly admired Avengers, the superhero/anti-hero Thunderbolts are misfit underdogs, which is why Alexei thinks that Thunderbolts is a perfect name for them.

“Thunderbolts*” doesn’t have a lot of big surprises because the movie is very transparent about Valentina being the chief mastermind villain. There’s a big reveal at the end of the movie, while an end-credits scene shows the aftermath of this reveal 14 months after the reveal happened. What might surprise viewers the most is how deep the movie goes in intended tearjerker flashback scenes that show children being murdered or abused. (The violence against children is not seen on screen but is implied.)

There’s a flashback scene with childhood Bob (played by Clayton Cooper) and his unnamed parents (played by Joshua Mikel and Molly Carden) that is harrowing to watch. Valentina has her own disturbing flashback showing how she was trained from an early age to betray those who are close to her. (Chiara Stella has the role of childhood Valentina.) And Yelena, the movie’s “trauma queen,” has her own painful childhood memory depicted in a flashback scene. (Violet McGraw reprises her “Black Widow” role as childhood Yelena.)

The MCU has shown superheroes experiencing mental health issues before, but these issues were treated in a more superficial manner and were sometimes used as comedy. This tone of putting serious health issues in a joke-filled MCU superhero movie was most evident in 2022’s “Thor: Love and Thunder,” which got very divisive reactions from audiences. People who dislike “Thor: Love and Thunder” (written and directed by Taika Waititi) had a lot of criticism for how the movie infused comedy in areas that some MCU fans think should’ve had a more serious tone.

For example, Thor (played by Chris Hemsworth), the Norse God of Thunder, is shown being depressed in the beginning of “Thor: Love and Thunder.” That movie starts out with Thor abusing alcohol, overeating, losing his zest for life, and gaining enough weight to have a pot belly, because he feels lost and useless after the end of the epic war depicted in “Avengers Endgame.” Thor eventually is able to shed his fat and climb out of his depression, but this recovery is treated in a flippant manner where a narrator says that Thor goes from having a “dad bod to a god bod.”

“Thunderbolts*” takes time to meaningfully explore the psychological repercussions experienced by superheroes who have shady pasts where they were villains who murdered people. Yelena is struggling with massive amounts of guilt about what she did when she was a Red Room-trained assassin for the Russian government. Unlike the transformation of Thor in “Thor: Love and Thunder,” Yelena’s mental health struggles in “Thunderbolts*” don’t go away just because she starts doing good deeds as a superhero.

Bucky is supposed to be the unofficial leader of the Thunderbolts because he’s the oldest and most experienced member of the group. However, Yelena is the heart and soul of the “Thunderbolts*” movie. In many ways, she’s the leader of the group’s collective conscience—as tattered and conflicted as that conscience can be at times.

In “Thunderbolts*,” Pugh (who continues to excel in her acting performances) brings a soulful energy to her role as Yelena, who was more of a hardened warrior in “Black Widow.” Yelena is coping with depression but she isn’t entirely depressing because she still manages to say some comedic zingers to lighten the mood. She looks out for Bob (who is often in a fragile mental state of mind) and has some very effectively emphathetic scenes with him.

The other scene stealer in “Thunderbolts*,” is Louis-Dreyfus, who doesn’t play Valentina as an over-the-top villain but as a skilled con artist who is always working an angle that will be to her advantage. Even when things start to fall apart for Valentina, she remains relatively calm and projects an upbeat image. Valentina is masterful at putting a positive spin on something negative that she caused. This characteristic is most evident in the movie’s final scene, when Valentina makes a bold move.

The other principal cast members in “Thunderbolts*” stick close to their established personalities and handle their performances accordingly. Alexei continues to be the buffoonish comic relief. Bucky is mostly stoic and sidesteps the childhood trauma trajectory of the movie by saying he didn’t have any chldhood trauma. Even less is shown or told about the personal history of Ghost in “Thunderbolts*,” which makes Ghost a very underdeveloped character.

John is grappling with insecurities and loneliness because his wife Olivia Walker (played by Gabrielle Byndloss) has left him and has taken their underage son with her. A flashback scene shows that the marital problems had a lot to do with John being too self-absorbed in a personal scandal to be an attentive parent to his son. John wants to be the “alpha male” in any group that he’s in, so this personality trait will be problematic in many situations.

Pullman’s Bob Reynolds character makes his first appearance in the MCU. He leaves a memorable impression, although it’s very easy to figure out Bob’s purpose from the moment you see him in a hospital patient outfit in a secretive O.X.E. facility. If Bob had been seen first in regular clothes, then it wouldn’t be so easy to predict what eventually happens to Bob in the movie.

“Thunderbolts*” took somewhat of a risk by putting a lot of psychotherapy elements in what some people think should be a lightweight superhero movie. Without seeing the movie, some people might assume that these superheroes have become a bunch of wimpy whiners. Far from being about self-pity, “Thunderbolts*” takes a very mature look at what recovery from mental illness can look like for people who are expected to be strong for others but aren’t necessarily getting the psychiatric help that they need for themselves.

Walt Disney Pictures/Marvel Studios will release “Thunderbolts*” in U.S. cinemas on February 14, 2025.

Review: ‘Ellis,’ starring Ellis Marsalis Jr.

December 30, 2022

by Carla Hay

Ellis Marsalis Jr. in “Ellis”

“Ellis”

Directed by Sascha Just

Culture Representation: In the documentary film “Ellis,” a predominantly African American group of people (with some white people), who are all connected in some way to jazz musician Ellis Marsalis Jr., discuss his life and career.

Culture Clash: Marsalis overcame obstacles in a racist music industry to become an influential jazz artist and producer. 

Culture Audience:  Besides appealing to the obvious target audience of Ellis Marsalis Jr. fans, “Ellis” will appeal primarily to people who are interested in watching an easygoing but not particularly exciting documentary about a famous jazz musician.

Wynton Marsalis and Branford Marsalis in “Ellis”

Although “Ellis” often looks like a unchallenging tribute film to a music icon, it can maintain viewer interest because of the people interviewed in the documentary and for offering some enjoyable performance footage. This documentary about jazz legend Ellis Marsalis Jr. plays it very safe, but it’s an insightful look into his professional and personal life. He participated in this documentary, which was his last film project before he died at age 85 of COVID-19-related pneumonia in 2020. “Ellis” is also the first feature-length documentary specifically about him.

Directed by Sascha Just, “Ellis” lets the movie’s namesake do much of the talking in telling his life story. His memories and stories (which sometimes ramble and could have used tighter editing) shape the narrative of the documentary, which has the expected mix of interviews, archival footage and exclusive footage that is new to this film. “Ellis,” which is Just’s feature-film directorial debut, had its world premiere at DOC NYC in 2022.

“Ellis” is told mostly in chronological order, with Ellis starting off by talking about his childhood and how he got into music. His parents (Ellis Marsalis Sr. and Florence Robertson) came from fairly different backgrounds. Robertson was a Creole from New Ellis, Louisiana. Ellis Sr. was a non-Creole from Summit, Mississippi. Ellis Jr. was born and raised in New Orleans, which has long been considered the American city most associated with jazz.

Ellis says of his early years as a musician: “I was learning the craft by way of bebop.” He took up playing the clarinet because he admired Artie Shaw. In high school, he listened to R&B, but jazz would eventually become his passion. However, because music education at the time was focused on European-based music (classic music or opera), Ellis remembers he couldn’t play jazz around the Catholic nuns who taught at the schools he attended. His mother bought him a tenor saxophone, but he also started playing the piano, which became his favorite instrument.

Instead of becoming a professional musician after graduating from high school, Ellis decided he would get a college education first at Dillard University. He graduated in 1955. His father paid for the tuition, even though Ellis says that his father (who owned a hotel on property that he owned) was skeptical that a college education would be beneficial to a black man in America at the time. Ellis Jr. saw things differently: “Being in the classroom was the closest thing between not having to pick up that mop and broom.

Ellis says of his father: “He didn’t want to work for anyone,” and Ellis Jr. inherited some of that entrepreneurial spirit by becoming an independent musician for hire. And his appreciation for education served him well when he became music teacher to help pay the bills when he wasn’t making enough money as a musician. He comments, “People who understood the economics of the situation could put a hustle together.”

Growing up in racially segregated Louisiana had an effect on him too, but Ellis doesn’t dwell on the negative experiences in this documentary. He says of spending a great deal of his life living with racist segregation: “It affected lots of stuff: the way you talked, the way you dressed, the way you studied in school.”

Ellis’ mentor at Dillard University was Harold Battiste, who would go on to found All for One (AFO) Records. As poet Kalamu ya Salaam says in the documentary about Battiste: “He had a vision that was just broader than playing music. He wanted to produce music. He wanted black people of his time and place to control and own their music.” Ellis Jr. was one of the artists who recorded music for AFO.

In the documentary, Ellis’ son Jason remember discovering an AFO Records box set at the age of 10 and hearing his father’s music and being surprised that it was so different from what he expected: “II couldn’t believe what I was hearing. I was hearing the music that is not the kind of music that people think of when they think of the city of New Orleans, to this day.”

Ellis tells some entertaining stories about his travels as a young musician, when he would go on the road with Battiste and drummer Edward Blackwell. For a while, he lived in New York City, but eventually returned to New Orleans. Except a period of time (1986 to 1989), when Ellis and his family lived in Richmond, Virginia, he would live in New Orleans for the rest of his life.

Ellis met his future wife Dolores Ferdinand at a racially segregated beach in Louisiana called Lincoln Beach. He asked for her phone number, and one of his friends said to him: “Why do you want to do that? You’re not going to call her.” Ellis quips in the documentary: “He was wrong.”

The courtship of Ellis and Dolores was somewhat interrupted in 1957, when Ellis enlisted in the U.S. Marines. He comments on his military experience: “In the Marine Corps, they look for normal people they can teach how to kill people.” He also remembers that he didn’t write too many love letters to Dolores while he was in the Marines.

After getting out of the military, he and Dolores married and would go on to have six sons together: Wynton, Branford, Jason, Delfeayo, Ellis III and Mboya Kenyatta. All of them (except for Mboya Kenyatta, who has autism) are professional musicians who have performed as solo artists and as members of the Marsalis Family band. Wynton, Branford, Jason, Delfeayo and Ellis III are all interviewed in the documentary.

Ellis describes his marriage to Dolores (who died in 2017) as generally happy but sometimes strained due the financial pressures of raising a large family on a musician’s salary that wasn’t always steady a income. Ellis comments, “I never developed a defeatist attitude about it. I always figured somehow it would work out.”

Even though money was often tight for the Marsalis family, Ellis says that Dolores told him never to give up on being a musician, even when he contemplated quitting music to become a taxi driver. To supplement his income, Ellis continued teaching music. In the 1970s, he was a teacher at the New Orleans Center for Creative Arts, where his students included Terence Blanchard, Harry Connick Jr. and actor Wendell Pierce. (Ellis would later be the jazz program chairperson at the University of New Orleans, from 1989 to 2001.)

In the documentary, Pierce shares his memories of having Ellis as a teacher. Pierce says that his first impression of Ellis was that he was “a wise sage with a great sense of humor … He put you at ease, and gave you a sense that you were going to figure it out.” At the same time, “He was a touch teacher and a tough mentor.”

Ellis’s children say in the documentary that he was not the type of father who pushed or pressured his children into following in his footsteps. Branford remembers that his father didn’t force him to practice music. Delfeayo adds, “Yeah, he was very laid-back. Wynton comments, “he didn’t make me play in his band,” but “I loved and respected him so much.” ” Branford adds, “He wasn’t materialistic or ambitious. He just wanted to play.”

Ellis also talks about how he and Dolores were civil rights activists who were very outspoken about their rights, and they taught their children to be the same way. Wynton says, “She was very direct about any of the issues.”

The performance footage in “Ellis” includes him performing at Jazz Fest in 1994, a Marsalis Family performance at Jazz Fest in 2001, and a 2019 solo artist performance at Jazz at Lincoln Center in New York City. His songs that are featured in the movie include “Nostalgic Impressions,” “Canadian Sunset,” Magnolia Triangle,” “Basic Urge,” “Tell Me,” “After and Monkey Puzzle.” As for his favorite recordings that he’s done, Ellis narrows it down to the Ellis Marsalis Trio music that he recorded on Blue Note Records and the 1996 “Loved Ones” album that he recorded with son Branford.

Other people interviewed the documentary are Ellis’ colleagues. They include pianist David Torkanowsky, trumpeter Ashlin Parker, saxophonist Derek Douget, pianist Tom McDermott, drummer Helen Riley, guitarist Steve Masakowski, former Musicians Village director Michele Brierre, and two of his former students: saxophonist John Ellis and pianist Jesse McBride. All of their comments are essentially praise-filled soundbites that don’t offer anything truly revealing.

“Ellis” is perfectly pleasant, but the movie might come across as a bit bland for people who have no interest in jazz music. The documentary could have used more meaningful stories about how Ellis Marsalis Jr. got inspired to write certain songs, or how he felt being the patriarch of a family of musicians. The movie’s production values are adequate. Mostly, “Ellis” tells his story in a simple but effective way, even if the movie doesn’t have anything new or surprising to reveal.

2019 Tribeca Film Festival: complete list of winners

May 4, 2019

Tribeca Film Festival - white logo

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

The 18th Annual Tribeca Film Festival, presented by AT&T, announced the winning filmmakers, storytellers, and actors in its competition categories at this year’s awards ceremony on May 2, 2019, at the Stella Artois Theatre at BMCC TPAC. The top honors went to Burning Cane for the Founders Award for Best U.S. Narrative Feature, House of Hummingbird (Beol-sae) for Best International Narrative Feature, and Scheme Birds for Best Documentary Feature. The Festival awarded $165,000 in cash prizes. The 2019 Tribeca Film Festival runs through May 5.

Rania Attieh won the Nora Ephron Award and a $25,000 prize for Initials S.G. (Iniciales S.G.). The award, created seven years ago, honors excellence in storytelling by a female writer or director embodying the spirit and boldness of the late filmmaker.

Tribeca honored innovation in storytelling with its Storyscapes Award, which went to The Key, created by Celine Tricart.

“I’m so proud to see our juries reward a group of winners that is truly representative of the diversity of story and accomplishment in craft at this year’s Festival.  We are particularly excited for the many first-time filmmakers the jury chose to recognize, and feel like this year’s winners signal a bright future ahead for independent film,” said Festival Director Cara Cusumano.

Awards were given in the following feature film competition categories: Founders Award for Best Narrative, International Narrative, Documentary, New Narrative Director, The Albert Maysles New Documentary Director, and the Nora Ephron Award, honoring a woman writer or director. Short films were honored in the Narrative, Documentary, Student Visionary and Animation categories.

This year’s Festival included 113 feature-length films, 63 short films, and 33 immersive storytelling projects representing 44 countries.

Screenings of the award-winning films will take place throughout the final day of the Festival: Sunday, May 5, at various venues. Specific times and ticketing information are available at www.tribecafilm.com/festival.

The winners of the Audience Awards, powered by AT&T, which are determined by audience votes throughout the Festival via the Festival app, were announced on May 4.

In addition to cash awards and in-kind services provided by sponsors including AT&T, Bulleit Frontier Whiskey, CHANEL, CNN Films, and PwC, a number of the winners were presented with original pieces of art created by contemporary artists: Jane Dickson, Shepard Fairey, Stephen Hannock, JR, Eddie Kang, Jeff Koons, Walter Robinson, Amy Sillman, Swoon, and Fred Tomaselli.

The winners, awards, and comments from the jury who selected the recipients are as follows:

U.S. NARRATIVE COMPETITION CATEGORIES

The jurors for the 2019 U.S. Narrative Competition were Lucy AlibarJonathan AmesCory HardrictDana Harris, and Jenny Lumet.

Wendell Pierce in “Burning Cane” (Photo by Phillip Youmans)

Founders Award for Best Narrative Feature – Burning Cane, directed by Phillip Youmans. The winner receives $20,000, sponsored by AT&T, and the art award “Bloom” by Fred Tomaselli. The award was given by Robert De Niro and Jane Rosenthal on behalf of the jury. Jury comment: “The Founders Award goes to a voice that is searingly original. One of the jurors compared this filmmaker’s unique voice to a latter day Faulkner, Welty, Williams. We loved this filmmaker’s vision and we love this filmmaker’s inevitable brilliant future. We are honored to present this award to Phillip Youmans for Burning Cane.”

Haley Bennett in “Swallow” (Photo by Katelin Arizmendi)

Best Actress in a U.S. Narrative Feature Film – Haley Bennett in Swallow. Jury comment: “For a sensitive, engaging performance the best actress award goes to Haley Bennett for Swallow.”

  • Jury special mention: “For her always surprising and deeply engaging work in Stray DollsGeetanjali Thapi.

Wendell Pierce in “Burning Cane” (Photo by Phillip Youmans)

Best Actor in a U.S. Narrative Feature Film – Wendell Pierce in Burning Cane. Jury comment: “For his portrayal of a troubled, passionate Preacher the best actor award goes to Wendell Pierce in Burning Cane.”

Best Cinematography in a U.S. Narrative Feature Film – Phillip Youmans for Burning Cane. Jury comment: “The cinematography was bold and swung for the fences, the award goes to Phillip Youmans for Burning Cane.”

  • Special Jury mention: “For work that took us to the icy coasts and sweltering kitchens of rural Maine, Todd Banhazl for Blow the Man Down.

Morgan Saylor and Priscilla Connolly in “Blow the Man Down” (Photo by Jeong “JP” Park)

Best Screenplay in a U.S. Narrative Feature Film – Bridget Savage Cole and Danielle Krudy for Blow the Man Down.  The winner receives $2,500. Jury comment: “For a stylized, thrilling story of secrets, Bridget Savage Cole and Danielle Krudy for Blow the Man Down.”

  • Special jury mention: “To a story of a woman finding her biological family and her logical family on the highway, Ani Simon-Kennedy for The Short History of the Long Road.”

INTERNATIONAL NARRATIVE COMPETITION CATEGORIES

The jurors for the 2019 International Narrative Competition were Gbenga AkinnagbeAngela BassettBaltasar Kormákur,Rebecca Miller, and Steve Zaillian.

Saebyuk Kim and Ji-hu Park in “House of Hummingbird” (Photo courtesy of Epiphany Films)

Best International Narrative Feature – House of Hummingbird (Beol-sae) (South Korea, USA) directed and written by Bora Kim.The winner receives $20,000 and the art award “Easter” by Eddie Kang. Jury comment: “In this beautiful film, a seemingly un-exceptional girl is truly seen by another human being for the first time. Through that random connection, her perspective of herself, and hence her life, is transformed. The award for Best International Narrative Feature goes to Bora Kim for House of Hummingbird.

Ji-hu Park in “House of Hummingbird” (Photo courtesy of Epiphany Films)

Best Actress in an International Narrative Feature Film – Ji-hu Park in House of Hummingbird (Beol-sae) (South Korea, USA). Jury comment: “For a subtle performance of enormous range and complexity, the award for Best Actress in an International Narrative Feature goes to Ji-hu Park in House of Hummingbird.

Ali Atay and Haluk Bilginer in “Noah Land” (Photo by Federico Cesca)

Best Actor in an International Narrative Feature Film – Ali Atay in Noah Land. Jury comment: “For an emotionally powerful and truthful portrayal of a conflicted and self-destructive man struggling to make sense of his life, the award for Best Actor in an International Narrative Feature goes to Ali Atay in Noah Land.”

“House of Hummingbird” (Photo courtesy of Epiphany Films)

Best Cinematography in an International Narrative Feature Film – Cinematography by Kang Gook-hyun for House of Hummingbird (Beol-sae) (South Korea, USA) directed by Bora Kim. Jury comment: “For empathetic, patient, yet specific and assured cinematography which allows us to embark on a young girl’s journey as she comes to terms with who she truly is, the award for Best Cinematography in an international narrative feature goes to Gook-hyun Kang for House of Hummingbird.”

Best Screenplay in an International Narrative Feature Film – Noah Land (Nuh Tepesi) written by Cenk Ertürk (Germany, Turkey, USA). The winner receives $2,500. Jury comment: “For its perceptive and nuanced storytelling of an estranged father and son struggling to understand the past, each other and themselves, the award for Best Screenplay in an International Narrative Feature goes to Cenk Ertürk for Noah Land.

DOCUMENTARY COMPETITION CATEGORIES

The jurors for the 2019 Documentary Competition were Drake DoremusRobert Greene, Julie GoldmanAndrew LaVallee, and Cheryl McDonough.

“Scheme Birds” (Photo by Ellinor Hallin)

Best Documentary Feature – Scheme Birds (Scotland, Sweden) directed and written by Ellen Fiske, Ellinor Hallin. The winner receives $20,000, and the art award “Oil Lotus Woman” by Shepard Fairey. Jury Comment: “For its poetic, haunting depiction of compelling characters living on the edge. Every element of the film, from editing to cinematography to point of view, is superb. The filmmakers convey their voice in a unique and present-tense way. We’re proud to present the award for best documentary feature to Scheme Birds.”

“Our Time Machine”

Best Cinematography in a Documentary Film – Cinematography by Yang Sun, Shuang Liang for Our Time Machine (China) directed by Yang Sun, S. Leo Chiang. The winner receives $2,500. Jury comment: “For its insightful visual style that captures loss and uses both intimate and grand spaces to maximum effect. The images elevated a universal story to the realm of dream and metaphor. The award for best cinematography goes to Our Time Machine.

Emmanuel Sanford-Durant in “17 Blocks” (Photo by Davy Busta)

Best Editing in a Documentary Film – Editing by Jennifer Tiexiera for 17 Blocks (USA) directed by Davy Rothbart.  The winner receives $2,500. Jury comment: “The award for best editing goes to a film for its profound treatment of vast amounts of honest, often raw footage. The film is structured in a way that renders some of the most affecting moments with great subtlety. Viewers are transformed over the course of the film, a testament to the choices made in its making. The award for best editing goes to 17 Blocks.”

  • Special Jury mention: “This brave film uses editing to reveal narrative layers that weren’t immediately apparent, challenging and surprising viewers along the way. The special jury mention goes to Rewind.”

BEST NEW NARRATIVE DIRECTOR COMPETITION

The jurors for the 2019 Best New Narrative Director Competition were Stephen Kay, Bill KeithJustin LongPiper Perabo, and Mélita Toscan du Plantier.

Ana (Regina Reynoso) and Lalo (Eduardo Banda) in “The Gasoline Thieves”

Best New Narrative Director – The Gasoline Thieves (Huachicolero) (Mexico, Spain, UK, USA) directed by Edgar Nito. The winner receives $10,000, and the art award “Love Trap” by Walter Robinson. Jury comment: “A coming of age story, social commentary, and at some points a revenge tale, this new director juggles each genre with equal sensitivity and truth. The film is impressively shot, with the messy and complicated inner workings of the characters’ situations reflected in the emotional camera work that has a blazing intensity. Like the movie’s central character, this movie is defined more by its heart than its swagger. We present the Best New Narrative Director award to Edgar Nito for The Gasoline Thieves. We can’t wait to see more from Edgar.”

BEST NEW DOCUMENTARY DIRECTOR COMPETITION

The jurors for the 2019 Albert Maysles New Documentary Director Award were David CrossOrlando von Einsiedel, and Kathrine Narducci.

“Scheme Birds” (Photo by Ellinor Hallin)

Albert Maysles New Documentary Director Award – Scheme Birds (Scotland, Sweden) directed by Ellen Fiske and Ellinor Hallin. The winner receives $10,000 sponsored by CNN Films, and the art award “Indigo Rocket Over Tribeca” by Stephen HannockJury comment: “For a film that tells a deeply compelling story, but realised with cinematic vision and invited us intimately into the lives of the film’s characters. This film is a remarkable achievement, made even more so because it’s from first time feature directors. The winners for the Albert Maysles Award for Best New Documentary Director are Ellen Fiske and Ellinor Hallin for Scheme Birds.”

THE NORA EPHRON AWARD

The jurors for the 2019 Nora Ephron Award, presented by CHANEL, were Debra MessingChloë Sevigny, and DeWanda Wise.

Diego Peretti in “Initials SG (Iniciales SG)” (Photo by Roman Kasseroller)

The Nora Ephron Award – Rania Attieh for Initials S.G. (Iniciales S.G.) (Argentina, Lebanon, USA) directed by Rania Attieh, Daniel Garcia. Rania receives $25,000, sponsored by CHANEL, and the art award “Alison the Lacemaker” by Swoon. Jury comments: “The film we chose is thrilling, distinct, and fully immersive. It was also something we’d never seen before. A true cinematic experience. We are elated to award this years’ Nora Ephron Award to Rania Attieh for Initials S.G.

SHORT FILM COMPETITION CATEGORIES

The jurors for the 2019 Narrative Short Competition and Animated sections were Maureen Dowd, Topher Grace, Rosalind Lichter, Hamish Linklater, Lily Rabe, Phoebe Robinson, and Jeff Scher.

“Maja” (Photo by Manuel Claro)

Best Narrative Short – Maja (Denmark) directed by Marijana Jankovic. The winner receives $5,000 sponsored by Bulleit Frontier Whiskey, and the art award “Amy Sillman” by Amy Sillman. Jury comment: “A deftly told story of a misunderstood young immigrant girl on her first day at a new school rides a line of danger and yearning innocence, challenging our assumptions and twisting the personal into the political with a grace our moment requires.”

  • Special Jury Mention: “This film celebrates the humanity and ingenuity of a character from the margins of society on a propulsive, fast-pedaling quest for the best tortilla in New York, The Dishwasher directed and written by Nick Hartanto, Sam Roden.

“My Mother’s Eyes” (Image by Jenny Wright)

Shorts Animation Award – My Mother’s Eyes (UK) directed and written by Jenny Wright. The winner receives $5,000 sponsored by Bulleit Frontier Whiskey, and the art award “Balloon Dog, Magneta” by Jeff Koons. Jury comment: “For its delicate, elegantly simple, breathtakingly imaginative animation and its ability to hold the heart of anyone who has a mother — whether beating in grief or in celebration. To this indelible portrait of immeasurable love, we are thrilled to give this award to My Mother’s Eyes.

The jurors for the 2019 Short Documentary and Student Visionary Competitions were Dr. Kevin Cahill, David Krumholtz, Kathy Najimy, Sheila Nevins, Agunda Okeyo, Aaron Rodgers, and Buster Scher.

“Learning to Skateboard in a Warzone (If You’re a Girl)” (Photo by Lisa Rinzler)

Best Documentary Short –Learning to Skateboard in a Warzone (If You’re a Girl (UK) directed by Carol Dysinger. The winner receives $5,000 sponsored by Bulleit Frontier Whiskey, and the art award “28 Millimeters, Portrait of a Generation” by JR. Jury comment: “A revelatory tale of how skateboarding can fuel the future of dignified resistance to gender oppression in war torn Afghanistan. Told through the Innocent confessions of young girls and the steadfast dedication of their headstrong female instructors, this film shines an uncompromising and ultimately uplifting light onto righting injustice.”

  • Special Jury Mention: “An unflinching and delicate portrait of a loving father with a haunted past who bravely decides to stand up to the powers that be in Ferguson, Missouri in St. Louis Superman.”

Jala Hesham and Sara Abed in “Jabel Banat” (Photo by Moustafa El Kashef)

Student Visionary Award – Jebel Banat (Egypt) directed and written by Sharine Atif. The winner receives $5,000 sponsored by Bulleit Frontier Whiskey, and the art award “Chrysler Building” by Jane Dickson. Jury comment: “This tale of gendered oppression and aspirant liberation paints a searing portrait of life in the Egyptian countryside. Two inseparable young women are tested on their commitment to local mores despite their growing fear of losing themselves and each other.”

  • Special Jury mention: “Set in rural China, this stunningly cinematic short Pearl (Zhen Zhu) follows the strife of a small family down a path of rupture and loss.”

STORYSCAPES AWARD

The 2019 Storyscapes Award, presented by AT&T, which recognizes groundbreaking approaches in storytelling and technology, jurors were Lisa OsbornePaul Smalera, and Adaora Udoji.

“The Key” (Image courtesy of Lucid Dreams Productions)

Storyscapes Award – The Key (USA, Iraq), created by Celine Tricart.  The winner receives $10,000, presented by AT&T. Jury comment: “This piece was the full package. Emotionally resonant, the winner demonstrates a seamless fusion of technology and narrative. The experience combines a real actor with fantastical, immersive visuals and achieves a rarity in VR storytelling with its use of metaphor to represent an ongoing, real-world crisis. Of particular note are the superbly executed virtual reality technical details, including character design, use of color, and sound design.”

TRIBECA X AWARD

Previously awarded last week were the 2019 Tribeca X Awards, sponsored by PwC. Tribeca X recognizes excellence in storytelling at the intersection of advertising and entertainment. The jurors were Nabil ElderkinKim GehrigJason KreherKinjil Mathur,Patrick Milling-Smith, and John Osborn.

Feature

“Almost Human” (Photo by Sine Vadstrup Brooker)

The winner of the Best Feature Film was awarded to Almost Human for The Carlsberg Foundation. Directed by Jeppe Rønde.

Short

“The Face of Distracted Driving” (Photo by Errol Morris)

The winner of the Best Short Film was awarded to The Face of Distracted Driving for AT&T. Directed by Errol Morris for BBDO New York.

Episodic

“History of Memory” (Photo courtesy of HP)

The winner of the Best Episodic Film was awarded to History of Memory for HP. Directed by Sarah Klein and Tom Mason for Redglass Pictures, The Garage by HP.

VR

“The 100%” (Photo courtesy of Springbok Entertainment)

The winner of the Best VR Film was awarded to The 100% by Stand Up to CancerHP and Intel. Directed by Hernan Barangan for Springbok Entertainment.

AUDIENCE AWARDS WINNERS

Maya Erskine and Jack Quaid in “Plus One” (Photo by Guy Godfree)

In addition, the festival announced the winners of the Audience Awards: the audience choice for Best Narrative Feature and Best Documentary Feature films, sponsored by AT&T.  Plus One, written and directed by Jeff Chan and Andrew Rhymer, was honored with the Narrative Audience Award and Gay Chorus Deep South, directed by David Charles Rodrigues, was given the Documentary Audience Award. The winner of each received a cash prize of $10,000.

“These stories are crowd pleasers and united audiences at the Festival,” said Tribeca EVP Paula Weinstein. “Our audiences laughed their way through the screenings of the romantic comedy Plus One lead by Maya Erskine and Jack Quaid and were moved by Gay Chorus Deep South, a timely story that uses music to unite communities around LGBTQ+ rights. We were honored to world premiere these films and know audiences elsewhere will love them as much as ours did at Tribeca.”

“So many of the people who worked on Plus One met in New York, and bringing the film back to this city has been an overwhelmingly emotional experience,” said directors Jeff Chan and Andrew Rhymer. “We are over the moon excited by the audience response to our film and can’t wait to share it with the rest of the world when it releases on June 14th!”

“Gay Chorus Deep South” (Photo by Adam Hobbs)

“The entire reason we made this film was to bring this message of belonging of the LGBTQ community and all other communities that are considered “the other” to as many people as possible in the world and the Audience Award at Tribeca is the ultimate celebration of exactly this,” said David Charles Rodrigues. “We are honored and humbled by this award. Thank you Tribeca from the bottom of our hearts.”

The runners-up were See You Yesterday, directed by Stefon Bristol, for the Narrative Audience Award and Watson, directed by  Lesley Chilcott, for the Documentary Audience Award. Throughout the Festival, which kicked off on April 24, audience members voted by using the official Tribeca Film Festival app on their mobile devices and rated the film they had just viewed from 1-5 stars. Films in the U.S. Narrative Competition, International Narrative Competition, Documentary Competition, Viewpoints, Narrative Spotlight, Narrative Documentary, Movies Plus, Midnight, This Used to Be New York, and Tribeca Critics’ Week sections were eligible.

Audience Award winners and runners-up will screen Sunday, May 5 at Regal Cinema Battery Park Theater along with the winners selected by the Tribeca Film Festival Jury, which were announced on May 2.

  • Plus One: 2:45 PM & 9:00 PM
  • See You Yesterday: 5:45 PM
  • Gay Chorus Deep South:  12:15 PM & 6:00 PM
  • Watson: 3:00 PM & 9:45 PM

For more information on all of the 2019 Tribeca Film Festival films and programming, please visit tribecafilm.com/festival

BACKGROUND INFORMATION ON PROJECTS RECEIVING HONORS

U.S. NARRATIVE COMPETITION WINNERS

Blow the Man Down, directed and written by Danielle Krudy, Bridget Savage Cole. Produced by Drew Houpt, Alex Scharfman, Tim Headington, Lia Buman. (USA) – World Premiere. While grieving for the loss of their mother, the Connolly Sisters suddenly find they have a crime to cover up, leading them deep into the underbelly of their salty Maine fishing village. With Morgan Saylor, Sophie Lowe, Margo Martindale, June Squibb, Annette O’Toole, Marceline Hugot.

Burning Cane, directed and written by Phillip Youmans. Produced by Wendell Pierce, Mose Mayer, Ojo Akinlana, Karen Kaia Livers, Cassandra Youmans, Phillip Youmans. (USA) – World Premiere. Set among the cane fields of rural Louisiana, Burning Canefollows a deeply religious mother struggling to reconcile her convictions of faith with the love she has for her troubled son. With Wendell Pierce, Karen Kaia Livers, Dominique McClellan, Braelyn Kelly.

Swallow, directed and written by Carlo Mirabella-Davis. Produced by Mollye Asher, Mynette Louie, Carole Baraton, Frederic Fiore. (USA) – World Premiere. Hunter, a newly pregnant housewife, finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession. With Haley Bennett, Austin Stowell, Elizabeth Marvel, David Rasche and Denis O’Hare.

INTERNATIONAL NARRATIVE COMPETITION WINNERS

House of Hummingbird (Beol-sae), directed and written by Bora Kim. Produced by Zoe Sua Cho, Bora Kim. (South Korea, USA) – North American Premiere. In 1994 Seoul, quiet eighth-grader Eunhee spends her time consumed by love and friendship, shoplifting, and karaoke. But it’s in her new teacher that Eunhee finds the unlikely connection that she has been desperately seeking in this touching coming-of-age drama. With Ji-hu Park, Saebyuk Kim, Seungyeon Lee, Ingi Jeong.

Noah Land (Nuh Tepesi), directed and written by Cenk Ertürk. Produced by Alp Ertürk, Sevki Tuna Ertürk, Cenk Ertürk. (Germany, Turkey, USA) – World Premiere. A son strives to honor his terminally ill father’s last wish to be buried under a tree he planted as a child, but clashes with villagers who claim the tree is in fact a holy relic planted by Noah after the Great Flood. With Ali Atay, Haluk Bilginer, Arin Kusaksizoglu, Mehmet Ozgur, Hande Dogandemir.

DOCUMENTARY COMPETITION WINNERS:

17 Blocks, directed by Davy Rothbart, written by Jennifer Tiexiera. Produced by Alex Turtletaub, Michael B. Clark, Marc Turtletaub, Rachel Dengiz, Davy Rothbart. (USA) – World Premiere. Using two decades of intimate home video, 17 Blocks tells the story of the Sanford family, whose struggles with addiction and gun violence eventually lead to a journey of love, loss, and acceptance.

Our Time Machine, directed by Yang Sun, S. Leo Chiang, written by S. Leo Chiang, Bob Lee. Produced by S. Leo Chiang, Yang Sun. (China) – World Premiere. Conceptual artist and puppeteer Ma Liang begins work on an ambitious performance piece about time and memory. For collaboration, he turns to his father, a former director of the Shanghai Chinese Opera, who is beginning to lose his own memories. TFI Supported.

Scheme Birds, directed and written by Ellen Fiske, Ellinor Hallin. Produced by Mario Adamson, Ruth Reid. (Scotland, Sweden) – World Premiere. As her childhood turns into motherhood, teenage troublemaker Gemma comes of age in her fading Scottish steel town. But in a place where “you either get knocked up or locked up,” innocent games can easily turn into serious crime.

BEST NEW NARRATIVE DIRECTOR WINNER

The Gasoline Thieves (Huachicolero), directed by Edgar Nito, written by Alfredo Mendoza, Edgar Nito. Produced by Victor Leycegui, Annick Mahnert, Joshua Sobel. (Mexico, Spain, UK, USA) – World Premiere. Propelled by a need for cash to impress a crush, 14-year-old Mexican farmhand Lalo finds himself dangerously in over his head after entering into the country’s underworld of illegal gasoline extraction. With Eduardo Banda, Pedro Joaquin, Regina Reynoso, Fernando Becerril, Pascacio López, Leonardo Alonso.

BEST NEW DOCUMENTARY DIRECTOR WINNER:

Scheme Birds, directed and written by Ellen Fiske, Ellinor Hallin. Produced by Mario Adamson, Ruth Reid. (Scotland, Sweden) – World Premiere. As her childhood turns into motherhood, teenage troublemaker Gemma comes of age in her fading Scottish steel town. But in a place where “you either get knocked up or locked up,” innocent games can easily turn into serious crime.

THE NORA EPHRON AWARD

Initials S.G. (Iniciales S.G.), directed and written by Rania Attieh, Daniel Garcia. Produced by Ivan Eibuszyc, Shruti Ganguly, Georges Schoucair. (Argentina, Lebanon, USA) – World Premiere. An aging Argentine Serge Gainsbourg wannabe struggles with a career he can’t seem to get on track, an affair he doesn’t want, and a crime he didn’t mean to commit. With Diego Peretti, Julianne Nicholson, Daniel Fanego, Malena Sanchez, Francisco Lumerman.

SHORT FILM COMPETITION CATEGORIES:

Jebel Banat, directed and written by Sharine Atif. (Egypt) – North American Premiere, Short Narrative. Two Bedouin sisters hide on a mountain, escaping forced marriages and embarking on a journey of freedom. With Sara Soumaya Abed, Jala Hesham, Soliman El Jebaly. In Arabic with English subtitles.

Learning to Skateboard In a Warzone (If You’re A Girl), directed by Carol Dysinger. (UK) – World Premiere, Short Documentary. Learning To Skateboard In A Warzone (If You’re A Girl) is the story of young Afghan girls learning to read, write—and skateboard—in Kabul. In Dari with English subtitles.

Maja, directed by Marijana Jankovic, written by Marijana Jankovic, Adam August. (Denmark) – New York Premiere, Short Narrative. Maja, a six-year-old Serbian girl, has a difficult time interacting with the other kids—and she ends up being misunderstood and lonesome. With Selena Marsenic, Jesper Christensen, Dejan Cukic, Marijana Jankovic. In Danish, Serbian with English subtitles.

My Mother’s Eyes, directed and written by Jenny Wright. (UK) – New York Premiere. My Mother’s Eyes is a story about motherhood and loss in the abstracted world of childhood memory.

STORYSCAPES AWARD

The Key (World Premiere) – USA, Iraq

Project Creator: Celine Tricart

Key Collaborators: Gloria Bradbury

An interactive VR experience taking the viewer on a journey through memories. Will they be able to unlock the mystery behind the mysterious Key without sacrificing too much?

TRIBECA X  AWARD

X Best Feature

Almost Human

Notes on the human condition by 10 scientist and a robot. Stephen Fry narrates Jeppe Rønde’s visionary science essay, where the artistic ambitions have intergalactic dimensions.

Director: Jeppe Rønde

Brand: The Carlsberg Foundation

X Best Short Film

The Face of Distracted Driving – Forrest

Tells the story of Forrest Cepeda, a 16-year-old boy who was killed in a distracted driving accident.

Director: Errol Morris

Brand: AT&T

Agency: BBDO New York

X Best Episodic

History of Memory

From Florida to India, Beijing to New Orleans, History of Memory is a documentary series about people whose lives were forever altered by the discovery, creation, or preservation of one photograph.

Director: Sarah Klein, Tom Mason

Brand: HP

Agency: Redglass Pictures, the Garage by HP

X Best VR

The 100%

An immersive experience following the harrowing and inspirational journey of Maggie Kurdirka, a ballet dancer and rising star at the Joffrey Concert Group, who at 23 years old was diagnosed with incurable stage four metastatic breast cancer.

Director: Hernan Barangan

Brand: Stand Up To Cancer, HP

Agency: Springbok Entertainment

ABOUT THE AUDIENCE AWARD WINNING FILMS AND RUNNERS-UP

WINNERS:

Gay Chorus Deep South, directed by David Charles Rodrigues, written by David Charles Rodrigues, Jeff Gilbert. Produced by Bud Johnston, Jesse Moss. (USA) – World Premiere, Feature Documentary. To confront a resurgence of anti-LGBTQ laws, the San Francisco Gay Men’s Chorus embarks on an unprecedented bus tour through the Deep South, celebrating music, challenging intolerance, and confronting their own dark coming out stories. With The San Francisco Gay Men’s Chorus, Oakland Interfaith Gospel Choir, Dr. Tim Seelig, Ashlé, Jimmy White

  • The film played in the Movies Plus section.

Plus One, directed and written by Jeff Chan, Andrew Rhymer. Produced by Jeremy Reitz, Debbie Liebling, Ross Putman, Jeff Chan, Andrew Rhymer, Greg Beauchamp. (USA) – World Premiere. In order to survive a summer of wedding fever, longtime single friends Ben and Alice agree to be each other’s plus one at every goddamn wedding they’re invited to. With Maya Erskine, Jack Quaid, Ed Begley Jr., Rosalind Chao, Beck Bennett, Finn Wittrock.

  • The Film played in the Spotlight Narrative section.

RUNNERS UP:

See You Yesterday, directed by Stefon Bristol, written by Stefon Bristol & Fredrica Bailey. Produced by Spike Lee, Jason Sokoloff, Matt Myers. (USA) – World Premiere, Feature Narrative. Two Brooklyn teenage prodigies, C.J. Walker and Sebastian Thomas, build make-shift time machines to save C.J.’s brother, Calvin, from being wrongfully killed by a police officer.

  • The film played in the Viewpoints section.

Watson, directed by Lesley Chilcott. Producers: Louise Runge, Lesley Chilcott, Wolfgang Knöpfler. . (USA, Costa Rica, Tonga) – World Premiere. Co-founder of Greenpeace and founder of Sea Shepherd, Captain Paul Watson has spent 40 years fighting to end the destruction of the ocean’s wildlife and its habitat. Part pirate, part philosopher, Watson’s methods stop at nothing to protect what lies beneath.

  • The film played in the Documentary Competition section.

# # #

 About the Tribeca Film Festival:

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

The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. Now in its 18th year, the Festival has evolved into a destination for creativity that reimagines the cinematic experience and explores how art can unite communities. The 18th annual edition will take place April 24 – May 5, 2019.

2019 Tribeca Film Festival movie review: ‘Burning Cane’

April 29, 2019

by Carla Hay

Wendell Pierce  in "Burning Cane"
Wendell Pierce  in “Burning Cane” (Photo by Phillip Youmans)

“Burning Cane”

Directed by Phillip Youmans

World premiere at the Tribeca Film Festival in New York City on April 25, 2019.

Stepping into the emotionally intense world of “Burning Cane” is like being stuck in blistering heat in rural Laurel Valley, Louisiana, where the movie takes place. Things move a little slower, modern conveniences are a little harder to get, and people’s dreams have become a little more tarnished by poverty and hopelessness. In other words, be prepared feel to a lot of discomfort in the atmosphere of people trying to hold on to some dignity as they slog through life’s miseries and cruelties.

The movie opens with Helen Wayne (played by Karen Kaia Liver), a middle-aged mother, listing all the home remedies that she’s tried to get rid of the rashes that her beloved dog JoJo has, but none of the remedies has worked so far. (One of the remedies is sugar cane; hence, the title of the movie.) Helen walks with the kind of world-weary limp that shows she’s carrying a lot of emotional baggage that goes beyond her physical challenges. In a conversation between Helen and her son Daniel (played by Dominique McClellan), we find out that Daniel’s father died of AIDS, but it’s a secret that Daniel finds hard to accept.

It’s not long before we see that Daniel is causing a lot of Helen’s emotional pain. He’s a chronically unemployed alcoholic, and she worries about his well-being and how he’s going to take care of his pre-teen son Jeremiah (played by Braelyn Kelly). Helen isn’t the only one disappointed in Daniel—his wife Sherry Bland (played by E’myri Crutchfield) is becoming increasingly fed-up with him and his inability to financially provide for their family. It’s implied but not shown that when Daniel and Sherry get into arguments, it’s not uncommon for him to hit her.

For many people in the town, the local Baptist church is a symbol of hope and salvation. It’s no wonder that the town’s residents look to the church’s Rev. Pastor Joseph Tillman (played by Wendell Pierce) as their personal savior. His rousing sermons with copious quotes from the Bible serve as beacons of faith in a world that’s often clouded by the murky uncertainties of life.

Pastor Tillman says all the right words to his poverty-stricken congregation. In one sermon, he aims harsh criticism at a famous Malcom Forbes quote: “He who dies with the most toys wins.” Pastor Tillman counters that belief by telling his parishioners: “We must invest in love … God is the most important relationship in your life.”

These are words that Helen takes to heart, and it’s clear that she—like many others in the church—have placed Pastor Tillman on a pedestal. Pastor Tillman, who is a lonely widower, is also considered somewhat of a catch to the single ladies in town.

“Burning Cane” writer/director Phillip Youmans (who also the movie’s cinematographer and editor) effectively uses moody cinematography to convey these two worlds: the church is brightly lit and welcoming, while the homes of Helen and Daniel are dark and depressing. (“Burning Cane” is set sometime in the late 1990s/early 2000s, before the proliferation of smartphones, and when people could still reasonably use rotary phones, as the Waynes do in this story.)

Pastor Tillman has a secret that’s become increasingly difficult to hide: He’s an alcoholic with a history of domestic violence. In one scene, he drunkenly confesses that he beat his wife during an argument. In another scene, he pushes a parishioner away when she tries to stop him from driving drunk. When he’s found passed out in his car in a drunken stupor, the only person whom he tells police to call is Helen.

After Helen finds out about Pastor Tillman’s personal demons, she’s somewhat in denial and conflicted over how to handle it. But once Helen sees the cracks of Pastor Tillman’s façade, it triggers a feeling of disillusionment that influences her actions for the rest of the story. By using hand-held cameras and not having a musical score for most of the film, director Youmans infuses a sense of realism, while keeping a fever-dream-like quality to the pacing of the film, where the dialogue sometimes wanders like a rambling poet.

The main criticism that people might have about “Burning Cane,” whose entire cast is African American, is that all the men in the movie are written as disturbed individuals and/or disappointments. Meanwhile, the women are the “responsible” ones who have to clean up the men’s messes. (Even Helen’s late husband, who’s not shown in the movie, was someone who committed domestic violence against her, according to what Helen says in one scene. The only things we hear about her dead husband are negative.) “Burning Cane” would have benefited from having a little more variety in how the men and women were written instead of relying on somewhat offensive clichés of African American men.

However, “Burning Cane” overall is a well-crafted movie when it comes to cinematography and editing—indications that Youmans has a knack for how a story should look on screen. “Burning Cane” is his first feature film, so it will be interesting to see what he does in the future.

UPDATE: Array Releasing will release “Burning Cane” in New York City on October 25, 2019, and in Los Angeles on November 8, 2019. Netflix will release the movie on November 6, 2019.

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