I’m a veteran of several film festivals including the Newport Beach Film Festival, the Berlin International Film Festival, the American Film Institute's AFIFest Hollywood and AFI DOCS, the famed Venice International Film Festival, the San Luis Obispo SLO Film Fest, and the Santa Barbara International Film Festival's family of festivals including the SBIFF, the SBIFF Wave Festivals and the SBIFF Showcase Film Series. To date I’ve written and published over 100 film reviews and have work posted on four sites including sbccfilmreviews.org, imdb.com. I have also been published in Classic Film Images magazine.
In addition to writing reviews and covering film festivals, I am currently seeking distribution for new films. I have contacts in several major markets including Los Angeles, New York, Toronto, and Cannes, France.
So when you’re looking for your film to get noticed, remember HollywoodGlee can help. We have professional marketers, respected critics and the most knowledgeable contacts on what film festival and/or distribution channel is right for you and your film.
See you at the movies!
Summertime, the latest work from writer/director Catherine Corsini, delivered a wallop yesterday evening at the Santa Barbara Riviera Theater during the second day of the Santa Barbara International Film Festival’s (SBIFF) The Wave ~ France. Using exquisite lighting and the abundant beauty of her actors, Corsini unveils a highly stylized period piece capturing a mood and the sensitivities of life for young French women.
In its most elemental form, Summertime, tells the story of two young women who, in 1971, meet in Paris by happenchance during the height of the times feminist activities and wind up falling passionately in love. The film received multiple nominations for Cesar and Lumiere awards in categories of Best Actor, Best Supporting Actor, Best Screenplay and Best Director while garnering Lumiere Award for Best Music with the work from Gregoire Hetzel.
Summertime screens again on Sunday, July 17th, at the Riviera Theater, 2044 Alameda Padre Serra, in Santa Barbara, Calif.
Tickets and passes are available at the box office. Prices range from $8 – $10 for single admission and $80 – $250 for festival passes. For more information on passes and scheduling click here.
With ninety-four films from over 30 countries the 2016 AFI DOCS had something for just about every documentary film lover. The Opening Night film dazzled the at-capacity audience at the Newseum with Alex Gibney’s North American Premiere of Zero Days,a detailed account of claims the US and Israeli governments unleashed a sophisticated virus to thwart the Iranian nuclear enrichment program. The film also addressed the issue of retaliation and made for a lively conversation and Q & A following the screening. Highly recommended.
Kicking off the first full day, I had the good fortune of seeing seven short documentaries under the guise of Shorts: Outside In; Tracks, The Great Theatre, Rotatio, Neige, Fundir and Chocolate Mountain Metal, Shorts: Outside In. Warmly recommended.
Winding up a busy Day 2 at the Newseum, an interactive museum of news and journalism in downtown Washington, DC, Newtown, an emotionally, powerful look at the local community two years after the Sandy Hook Elementary School massacre from acclaimed director Kim Snyder, and Audrie & Daisy, a story of two high school girls who were sexually assaulted in indefensible states and their vilification on social media with tragic consequences, were shown. Both are must-see films. Highly recommended.
Day 3 brought After Spring, a telling tale of the relocation of Syrian refugees and the challenges they face at the Zaatari relocation camp inside the Jordanian border. Directors Steph Ching and Ellen Martinez attended the screening and made themselves available to discuss the making of the film. Recommended.
Almost Sunrise, explores an alternative approach to the traditional diagnosis and treatment of Post Traumatic Stress Disorder. Director Michael Collins chronicles the journey of two Iraq War veterans as they share a 2700 mile hike from the Midwest to the state of California to create an awareness of their trauma. Along the way, the two are warmly greeted and supported by fellow veterans and communities alike. Warmly recommended.
Unfortunately, due to an overwhelming demand for seats at the Guggenheim Symposium and Screening, I was not granted a place for the evening’s conversation with Werner Herzog and Ramin Bahrani including clips from Herzog’s storied career and a screening of his latest work, Lo and Behold, Reveries of the Connected World. Nevertheless, I made my way over to Silver Spring, MD, AFI Silver Theater for Cinema, Mon Amour,a wonderful story of a Romanian family and their ‘never say quit’ spirit as they work determinedly to keep open the last of Romania’s grand movie palaces.
Day Four began with a visit to the AFI DOCS Lounge for the Filmmakers Forum and the making of short documentaries. Quick and to the point, storytellers and the movers and shakers of the industry engaged in an informative format as filmmakers and producers provided guidance and probed the issues in today’s filmmaking environment.
Full of vigor, the featured Command And Control,directed by Robert Kenner, recounted a 1980 nuclear accident with surreal details. Highly recommended.
Next, I dropped in on Vanessa Gould’s Obit, an insider’s guide to the world of who’s who in the annals of lives lived through the eyes of the legendary New York Times obituaries desk. Obit reveals a unique form of journalism and the idiosyncrasies of the writers and editors who create and compose these celebrations of extraordinary lives lived. Warmly recommended and my personal favorite!
Closing out the evening again at the Newseum with a Spotlight Screening of Check It. Check It, a mesmerizing look at an inner city, Washington DC, gang composed of gay and transgendered teens who allied themselves together for protection and survival out on the streets of the nation’s capitol over a three year period, was directed by Toby Oppenheimer and Dana Flor. Over the course of the film, the Check It gang comes to the realization that while surviving is critical so is leading a productive and useful life. Warmly recommended.
Day 5 kicked into gear with another visit to the AFI DOCS Lounge for Part Four of the Filmmakers Forum. I arrived early and met Discovery’s Gina Scarpulla. Unbeknownst to me, Ms. Scarpulla and her team at Discovery are pioneering virtual reality in film. Virtual headsets, known as lunchboxes were made available before and after the forum. See my full write up here: AFI DOCS Filmmaking Forum on Virtual Reality
Next came the Chicken People, directed by Nicole Lucas Haimes. Chicken People delves into the worlds of the contestants and their contenders, pure bred chickens, as they vie for best fowl at the Ohio National Poultry Show and the title of Super Grand Champion. Warmly recommended and A Don’t Miss!
Doc & Darryl, a soon-to-be-aired ESPN 30 for 30 film, depicts the trials and tribulations of the 1986 Major League Baseball World Champions New York Mets and the meteoric rise and setbacks of the team’s two most talented players, Dwight ‘Doc’ Gooden and Darryl Strawberry. The film was co-directed by Judd Apatow and Michael Bonfiglio. See my write up: Doc & Darryl
Closing out the 2016 AFI DOCS was Norman Lear: Just Another Version Of You, directed by Heidi Ewing and Rachel Grady. This is a masterpiece of television history. Breathtaking images of actors, writers and directors watching clips from All In The Family, The Jeffersons, Maude and Good Times juxtaposed against their commentaries, highlight this cinematic gem. Another must see film! And I know Norman Lear wouldn’t have it any other way. Highly recommended.
Norman Lear , center, on the red carpet with filmmakers Heidi Ewing, right, and Rachel Grady, left, before the screening of the 2016 AFI DOCS Closing Night film, Norman Lear: Just Another Version Of You, June 26, 2016, at the Newseum in downtown Washington, D.C. (Photo credit: Larry Gleeson)
This was my first AFI DOCS. Set in our nation’s Capitol, the festival ran smoothly. Two venues were in downtown Washington, DC, and were within walking distance of one another. Also, both venues were easily accessible by the Metro and had plenty of shops, coffee bars, sports bars, and restaurants nearby. The third venue was in Silver Spring, Maryland, home of the AFI DOCS Silver Theater and Cultural Center. Again, plenty of shops and nearby eateries and fairly easy to get to by Metro. The Washington Post calls AFI DOCS “The nation’s leading documentary film festival.” I couldn’t agree more.
The Santa Barbara International Film Festival’s (SBIFF) The Wave Film Festival ~ France opened last night at SBIFF’s new home, the Santa Barbara Riviera Theater. French movie lover̵…
The Santa Barbara International Film Festival’s (SBIFF) The Wave Film Festival ~ France opened last night at SBIFF’s new home, the Santa Barbara Riviera Theater. French movie lover’s gathered outside while enjoying the expansive, sweeping views from the theater’s front. Once inside, the viewers were treated to a brief introduction from The Wave festival director, Mickey Duzdevich and a cleverly put together, coming of age film, Microbe & Gasoline, written and directed by Michel Gondry. Ange Dargent portrays Daniel (Microbe) with Theophile Baquet as Theo (Gasoline) while Audrey Tautou (Amelie) plays Marie Therese.
The film’s billing reads:
“Microbe, a shy, aspiring artist, has trouble making friends at school until he meets Gasoline, a likeminded outcast. Together they hatch a plan to build a car and spend their summer on an epic road trip across France. This charming adventure from Michel Gondry (MOOD INDIGO, BE KIND REWIND) has been called his “most satisfying movie since ETERNAL SUNSHINE OF THE SPOTLESS MIND,” reminding us how friendships can help us reach our true potential. Also starring Audrey Tautou (AMELIE, DA VINCI CODE).”
Microbe & Gasoline is every bit of this and more. It delves into the teenage angst in a new and unique manner combining costumes, music and the lush French countryside. Microbe & Gasoline is scheduled to screen again on Friday, July 17th, 7:30PM at the Riviera Theater, 2044 Alameda Padre Serra, Santa Barbara, Calif.
The Wave ~ France continues today with Summertime showing at 5:00PM followed by Neither Heaven Nor Earth at 7:30PM. Individual tickets are $10 with festival passes as a Patron for $250 and Cinephile at $80. For more information click here: Passes.
The Santa Barbara International Film Festival’s ~ The Wave Festival – France is “excited to announce the final 2 films completing out the lineup of 11 amazing and new French Films…
The Santa Barbara International Film Festival’s ~ The Wave Festival – France is “excited to announce the final 2 films completing out the lineup of 11 amazing and new French Films that will be featured at The Wave Film Festival next week. The schedule, passes and individual tickets are available now at the links below. Join us for this special cinematic journey to France at the Riviera Theatre July 11 through 17th!”
For more information on ticketing, passes click here : SBIFF ~ The Wave
At AFI DOCS, I caught up with Judd Apatow, co-director of the new documentary Doc & Darryl before its world premiere. This was one of my must-see films. And, as usual with any film festival, my b…
At AFI DOCS, I caught up with Judd Apatow, co-director of the new documentary Doc & Darryl before its world premiere. This was one of my must-see films. And, as usual with any film festival, my best efforts led me to an opportunity to cover the closing night film and after party for Music Box Films’ NORMAN LEAR: JUST ANOTHER VERSION OF YOU, directed by Heidi Ewing and Rachel Grady. I heard Mr. Apatow was in the house minutes before the screening of Doc & Darryl was slated to begin. Knowing I only had 45 minutes to view his film and wouldn’t have the opportunity to attend the Q & A scheduled for after the screening. I grabbed my camera and hurried to the red carpet area.
Fortunately, Jacqueline Gross had Mr. Apatow’s attention. I quickly got into place and managed to get off a few shots and as Ms. Gross finished, I stood upright, reached out my hand, introduced myself and posed the question, “Why a sports film?” There we stood eye-to-eye, man-to-man, baseball aficionado to baseball aficionado. As gracious, and probably more gracious than any other industry professional I’ve managed to engage, Mr. Apatow matter of factly responded, “Well, I was on twitter one night with someone from ESPN and I told him how much I liked the 30 for 30 films. His response was ‘why don’t you do one.’ So, I did. And these guys were my heroes growing up.” I thanked Mr. Apatow for his time and made my way back to my seat inside the theater for Doc & Darryl.
While I didn’t see the film in its entirety, what I did see was a above and beyond any other 30 for 30 film I had seen to date – purely from a production standpoint. You be the judge of the narrative!
Doc & Darryl will air July 14 at 9 p.m. ET on ESPN. Watch a trailer for it here: Doc & Darryl
Audrie & Daisy, a new documentary co-directed by Bonni Cohen and Jon Shenk, takes an in-depth look at the effects of cyber bullying following the aftermath when two teenage girls are sexually a…
Audrie & Daisy, a new documentary co-directed by Bonni Cohen and Jon Shenk, takes an in-depth look at the effects of cyber bullying following the aftermath when two teenage girls are sexually assaulted. The girls went to parties, drank alcohol to excess and were then sexually assaulted by boys and young men they believed were their friends. The shame and scorn the girls were subjected to resulted in a suicide of a Saratoga, Georgia high school student, Audrie, who believed her reputation was beyond repair. The culprits in the assault eventually reached a plea agreement so the young men could graduate from high school. The agreement included an admission of guilt and a public apology as well as a 45 minute videotaped interview. In the case of Audrie, a Missouri resident in the small town of Maryville in Nodaway County, all charges were dropped in a highly publicized news reported court judgement.
Cohen and Shenk open the film with a slow pan of empty desks in a classroom as a voice over about the Audrey case begins. A cut is made to a high school football practice with the diagetic sounds of grunting, helmets and pads colliding and thudding with the sounds of whistles chirping. An audio deposition of Jon B., not the perpetrator’s real name, is heard as an image shows the critical information of what is occurring in a black and white frame as the film’s narrative is slowly opening. In a taped 2015 interview, Audrey’s mother and father, Larry and Sheila Pott talk candidly about Audrey while pictures of Audrey range from the time she was a baby up into her high school years. Sheila reminisced how she and Audrey cooked together while they watched the food network together. Audrey’s best friend from the time of middle school, Amanda Le, opened up about their experiences together through adolescence. Le remembers Audrey developed early physically and by high school was well developed. A group of boys from junior high began a Yahoo! group where they shared nude pictures of their classmates. Le stated Audrey received a lot of requests for pictures, however, as Audrey was quite self-conscious she didn’t provide any pictures. Audrey was popular and had many friends. One night at a party Audrey drank too much. In a deposition, her “friend” stated her carried Audrey upstairs and laid her on a bed. Two other young men entered the room and closed the door. With Audrey, unmoving on the bed, the three boys stripped her naked. They took turns sexually assaulting her with their fingers. They painted half her face black and placed indelible lewd comments on her body. Photographs were taken and videos were recorded while Audrey laid defenseless.
Through the use of textual overlays from conversations Audrey initiated with her “friend,” Cohen and Shenk create a sense of real-time. Audrey does not recollect what happened and pleads with her friend and others to tell her what happened. Her “friend” tells her it will blow over in a week. Yet, when Audrey gets to school, she comes to a realization that everyone in school is aware of what happened and the images of her assaulted naked body have made their way online. Shamed and humiliated, Audrey feels her reputation is beyond repair and commits suicide.
Daisy Coleman, a perky blonde-haired, blue-eyed freshman, and new to the small town of Maryville, Missouri also is subjected to shame, humiliation and ridicule following her sexual assault. Daisy and her 8th grade friend who according to an official police investigator looked about eight are invited to a “party.” While at the party held in the basement of one of the three older high school males present, both girls are raped while incapacitated. The following morning Daisy is found on her home’s lawn with her hair frozen to the grass. What unfolds in Daisy’s story is the difficulty is prosecuting an assault without hard evidence. None of the males were over 17. A video was recorded and shared and subsequently deleted without means of retrieval. Consequently, all charges were dropped.
Nevertheless, the maelstrom created by Daisy coming forth had severe repercussions for Daisy on social media. Slowly diminishing in spirit, Daisy began sinking further and further into the rabbit hole when a young woman who had endured and survived a similar sexual assault reached out to Daisy via social media. Delaney Henderson heard about Daisy and used the Facebook chat feature to tell Daisy she understood the feelings and what Daisy was going through. The two young women have started and joined a survivors’ group facilitated by a professional counselor. In a Q & A following the screening, it was revealed Daisy Coleman received an athletic scholarship to Mountain Valley College. Daisy stated with strength and conviction, “I’m done with being mad. I finally wanted to move on. I’m not forgetting the past. I’m forgiving the past.”
Hear Daisy and what the filmmakers have to say the making of Audrie & Daisy:
High in production values complete with traditional interviews, archival news footage, original evidence-gathering investigation-room interviews, panning location shots, photographs as well as masked caricatures of the depositions, Audrie & Daisy, is a must-see documentary.
Pictured from left to right are Delaney Henderson and Daisy Coleman. (Photo from American Film Institute Magazine/Blog)
