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PREMIERES, MIDNIGHT, KIDS, AND MORE: LATEST ADDITIONS TO 2017 SUNDANCE FILM FESTIVAL LINEUP

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FOR IMMEDIATE RELEASE

Park City, UT— The final pieces of the 2017 Sundance Film Festival feature film program fall into place today, as Sundance Institute announces the lineup for Premieres, Documentary Premieres, Midnight, Spotlight, Kids and Special Events. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort January 19-29.

Three projects announced today are part of The New Climate, the Festival’s new environmental program: Rancher, Farmer, Fisherman (Documentary Premieres), Look & See: A Portrait of Wendell Berry (Spotlight) and RISE (Special Events).

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John Cooper, Director of the Sundance Film Festival, said, “Some of the most pressing themes that we can trace through the Festival lineup — the environment, political upheaval, social change — are distilled to their very human essences in both comic and dramatic stories. These stories, and the conversations they spark, start here and will extend well beyond the mountain and the Festival in the months ahead.”

Trevor Groth, Director of Programming for the Sundance Film Festival, said, “Powerful visions of our times — past, present and future — resound throughout these sections. Inspired storytellers are shining a light on urgent issues or providing an exhilarating escape from them. From citizen journalists to robust and powerful roles for women — in front of and behind the camera — these projects are a testament to the force and value of the individual.”

Among the films that have premiered in these sections in recent years are Boyhood, Under The Shadow, Twenty Feet from Stardom, Captain Fantastic, The Lobster, Mistress America, Manchester By The Sea, Mapplethorpe: Look at the Pictures, Shaun the Sheep, O.J.: Made in America and The Jinx: The Life and Deaths of Robert Durst.

For a full list of films announced to date, including selections for the U.S. and World Competitions, NEXT and New Frontier, visit sundance.org/festival. The Short Film program announcement will be forthcoming.

PREMIERES
A showcase of world premieres of some of the most highly anticipated narrative films of the coming year.

Beatriz at Dinner / U.S.A. (Director: Miguel Arteta, Screenwriter: Mike White) — Beatriz, an immigrant from a poor town in Mexico, has drawn on her innate kindness to build a career as a health practitioner. Doug Strutt is a cutthroat, self-satisfied billionaire. When these two opposites meet at a dinner party, their worlds collide and neither will ever be the same. Cast: Salma Hayek, John Lithgow. World Premiere

Before I Fall / U.S.A. (Director: Ry Russo-Young, Screenwriter: Maria Maggenti) — Samantha Kingston has everything. Then, everything changes. After one fateful night, she wakes up with no future at all. Trapped into reliving the same day over and over, she begins to question just how perfect her life really was. Cast: Zoey Deutch, Halston Sage, Logan Miller, Kian Lawley, Elena Kampouris, Diego Boneta. World Premiere

The Big Sick / U.S.A. (Director: Michael Showalter, Screenwriters: Emily V. Gordon, Kumail Nanjiani) — Based on the real-life courtship: Pakistan-born comedian Kumail and grad student Emily fall in love, but they struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail must navigate the crisis with her parents and the emotional tug-of-war between his family and his heart. Cast: Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Anupam Kher. World Premiere

Call Me by Your Name / Italy, France (Director: Luca Guadagnino, Screenwriters: James Ivory, Luca Guadagnino) — The sensitive and cultivated Elio, only child of the American-Italian-French Perlman family, is facing another lazy summer at his parents’ villa in the beautiful and languid Italian countryside when Oliver, an academic who has come to help with Elio’s father’s research, arrives. Cast: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois. World Premiere

The Discovery / U.S.A. (Director: Charlie McDowell, Screenwriters: Charlie McDowell, Justin Lader) — In a world where the afterlife has just been scientifically proven—resulting in millions of people taking their own lives to get there—comes this love story. Cast: Jason Segel, Rooney Mara, Robert Redford, Jesse Plemons, Riley Keough, Ron Canada. World Premiere

Fun Mom Dinner / U.S.A. (Director: Alethea Jones, Screenwriter: Julie Rudd) — Four women, whose kids attend the same preschool class, get together for a “fun mom dinner.” When the night takes an unexpected turn, these unlikely new friends realize they have more in common than just marriage and motherhood. Together, they reclaim a piece of the women they used to be. Cast: Katie Aselton, Toni Collette, Bridget Everett, Molly Shannon, Adam Scott, Adam Levine. World Premiere

The Incredible Jessica James / U.S.A. (Director and screenwriter: Jim Strouse) — Jessica James, an aspiring NYC playwright, is struggling to get over a recent breakup. She sees a light at the end of the tunnel when she meets the recently divorced Boone. Together, they discover how to make it through the tough times while realizing they like each other—a lot. Cast: Jessica Williams, Chris O’Dowd, Keith Stanfield, Noël Wells. World Premiere. CLOSING NIGHT FILM

The Last Word / U.S.A. (Director: Mark Pellington, Screenwriter: Stuart Ross Fink) — Harriett is a retired businesswoman who tries to control everything around her. When she decides to write her own obituary, a young journalist takes up the task of finding out the truth, resulting in a life-altering friendship. Cast: Shirley MacLaine, Amanda Seyfried, Anne Heche, Thomas Sadoski, Philip Baker Hall. World Premiere

Manifesto / Germany (Director and screenwriter: Julian Rosefeldt) — Can history’s art manifestos apply to contemporary society? An homage to the twentieth century’s most impassioned artistic statements and innovators, from Futurists and Dadaists to Pop Art, Fluxus, Lars von Trier and Jim Jarmusch, this series of reenactments performed by Cate Blanchett explores these declarations’ performative components and political significance. Cast: Cate Blanchett. World Premiere

Marjorie Prime / U.S.A. (Director and screenwriter: Michael Almereyda) — In the near future—a time of artificial intelligence—86-year-old Marjorie has a handsome new companion who looks like her deceased husband and is programmed to feed the story of her life back to her. What would we remember, and what would we forget, if given the chance? Cast: Jon Hamm, Geena Davis, Lois Smith, Tim Robbins. World Premiere

Mudbound / U.S.A. (Director: Dee Rees, Screenwriters: Virgil Williams, Dee Rees) — In the post–World War II South, two families are pitted against a barbaric social hierarchy and an unrelenting landscape as they simultaneously fight the battle at home and the battle abroad. This epic pioneer story is about friendship, heritage and the unending struggle for and against the land. Cast: Carey Mulligan, Jason Clarke, Jason Mitchell, Mary J. Blige, Garrett Hedlund, Jonathan Banks. World Premiere

The Polka King / U.S.A. (Director: Maya Forbes, Screenwriters: Maya Forbes, Wally Wolodarsky) — Based on the remarkable true story of the world’s only known Polka Ponzi scheme, this mix of comedy and tragedy is about Jan Lewan, a polish immigrant who believed in the American Dream. But with big dreams came big mistakes for the man who became the “King of Pennsylvania Polka.” Cast: Jack Black, Jenny Slate, Jason Schwartzman, Jacki Weaver, J.B. Smoove. World Premiere

Rebel in the Rye / U.S.A. (Director and screenwriter: Danny Strong) — This portrait of the life and mind of reclusive author J.D. Salinger goes from the bloody front lines of World War II to his early rejections and the PTSD-fueled writer’s block that led to his iconic novel, The Catcher in the Rye. Cast: Nicholas Hoult, Kevin Spacey, Sarah Paulson, Zoey Deutch, Hope Davis, Victor Garber. World Premiere

Rememory / U.S.A., Canada (Director: Mark Palansky, Screenwriters: Michael Vukadinovich, Mark Palansky) — A visionary inventor found dead. A machine that can record people’s memories. A man haunted by the past. This noir mystery explores the ways in which memory defines the present. Cast: Peter Dinklage, Julia Ormond, Martin Donovan, Anton Yelchin, Henry Ian Cusick, Evelyne Brochu. World Premiere

Sidney Hall / U.S.A. (Director: Shawn Christensen, Screenwriters: Shawn Christensen, Jason Dolan) — Over the course of 12 years, and three stages of life, Sidney Hall falls in love, writes the book of a generation and then disappears without a trace. Cast: Logan Lerman, Elle Fanning, Kyle Chandler, Michelle Monaghan, Nathan Lane, Margaret Qualley. World Premiere

Where is Kyra? / U.S.A. (Director: Andrew Dosunmu, Screenwriters: Andrew Dosunmu, Darci Picoult) — Pushed to the brink after losing her job, a woman struggles to survive. As the months pass and her troubles deepen, she embarks on a perilous and mysterious journey that threatens to usurp her life. Cast: Michelle Pfeiffer, Kiefer Sutherland. World Premiere

Wilson / U.S.A. (Director: Craig Johnson, Screenwriter: Daniel Clowes) — Wilson, a lonely, neurotic and hilariously honest middle-aged misanthrope, reunites with his estranged wife and gets a shot at happiness when he learns he has a teenage daughter he has never met. In his uniquely outrageous and slightly twisted way, he sets out to connect with her. Cast: Woody Harrelson, Laura Dern, Judy Greer. World Premiere

Wind River / U.S.A. (Director and screenwriter: Taylor Sheridan) — An FBI agent teams with the town’s veteran game tracker to investigate a murder that ocurred on a Native American reservation. Cast: Jeremy Renner, Elizabeth Olsen, Jon Bernthal. World Premiere

DOCUMENTARY PREMIERES
Renowned filmmakers and films about far-reaching subjects comprise this section highlighting our ongoing commitment to documentaries.

500 YEARS / U.S.A. (Director: Pamela Yates) — From a historic genocide trial to the overthrow of a president, the sweeping story of mounting resistance played out in Guatemala’s recent history is told through the actions and perspectives of the majority indigenous Mayan population, who now stand poised to reimagine their society. World Premiere

Cries from Syria / U.S.A., Syria, Czech Republic (Director: Evgeny Afineevsky) — This documentary attempts to recontextualize the European migrant crisis and ongoing hostilities in Syria, through eyewitness and participant testimony. Children and parents recount the revolution, civil war, air strikes, atrocities and ongoing humanitarian aid crises, in a portrait of recent history and the consequences of violence. World Premiere

Give Me Future: Major Lazer in Cuba / U.S.A., Cuba (Director: Austin Peters) — In the spring of 2016, global music sensation Major Lazer performed a free concert in Havana, Cuba—an unprecedented show that drew an audience of almost half a million. This concert documentary evolves into an exploration of youth culture in a country on the precipice of change. World Premiere

Legion of Brothers / U.S.A. (Director: Greg Barker) — Afghanistan, immediately post-9/11: Small teams of Green Berets arrive on a series of secret missions to overthrow the Taliban. What happens next is equal parts war origin story and cautionary tale, illuminating the nature and impact of 15 years of constant combat, with unprecedented access to U.S. Special Forces. World Premiere

Oklahoma City / U.S.A. (Director: Barak Goodman) — The bombing of the Alfred P. Murrah Federal Building in Oklahoma City in April 1995 is the worst act of domestic terrorism in American history; this documentary explores how a series of deadly encounters between American citizens and federal law enforcement—including the standoffs at Ruby Ridge and Waco—led to it. World Premiere

Rancher, Farmer, Fisherman / U.S.A. (Directors: Susan Froemke, John Hoffman, Beth Aala) — From the Montana Rockies to the wheat fields of Kansas and the Gulf of Mexico, families who work the land and sea are crossing political divides to find unexpected ways to protect the natural resources vital to their livelihoods. These are the new heroes of conservation, deep in America’s heartland. World Premiere. THE NEW CLIMATE

TAKE EVERY WAVE: The Life of Laird Hamilton / U.S.A. (Director: Rory Kennedy) — This is the remarkable story of an American icon who changed the sport of big wave surfing forever. Transcending the surf genre, this in-depth portrait of a hard-charging athlete explores the fear, courage and ambition that push a man to greatness—and the cost that comes with it. World Premiere

Tell Them We Are Rising: The Story of Black Colleges and Universities / U.S.A. (Director: Stanley Nelson) — A haven for Black intellectuals, artists and revolutionaries—and path of promise toward the American dream—Black colleges and universities have educated the architects of freedom movements and cultivated leaders in every field. They have been unapologetically Black for 150 years. For the first time ever, their story is told. World Premiere

This Is Everything: Gigi Gorgeous / U.S.A. (Director: Barbara Kopple) — Are there limits to your love for your family? One family’s acceptance is tested when a champion diver, destined for the Olympics, announces he’s transitioning into a woman—and invites his YouTube followers along for every moment. It’s a story about unconditional love and finding the courage to be yourself. World Premiere

Untitled Lucy Walker / Buena Vista Social Club Documentary / U.S.A., United Kingdom, Cuba (Director: Lucy Walker) — The musicians of the Buena Vista Social Club exposed the world to Cuba’s vibrant culture with their landmark 1997 album. Now, against the backdrop of Cuba’s captivating musical history, hear the band’s story as they reflect on their remarkable careers and the extraordinary circumstances that brought them together. World Premiere

MIDNIGHT
From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour.

78/52 / U.S.A. (Director: Alexandre Philippe) — This is an unprecedented look at the iconic shower scene in Alfred Hitchcock’s Psycho, the “man behind the curtain,” and the screen murder that profoundly changed the course of world cinema. World Premiere

Bad Day for the Cut / Northern Ireland (Director: Chris Baugh, Screenwriters: Chris Baugh, Brendan Mullin) — A middle-aged Irish farmer, who still lives at home with his mother, sets off on a mission of revenge when the old lady is murdered. Cast: Nigel O’Neill, Susan Lynch, Józef Pawłowski, Stuart Graham, Anna Próchniak, Ian McElhinney. World Premiere

Bitch / U.S.A. (Director and screenwriter: Marianna Palka) — A woman snaps under crushing life pressures and assumes the psyche of a vicious dog. Her philandering, absentee husband is forced to become reacquainted with his four children and sister-in-law as they attempt to keep the family together during this bizarre crisis. Cast: Jason Ritter, Jaime King, Marianna Palka, Brighton Sharbino, Rio Mangini, Kingston Foster. World Premiere

Bushwick / U.S.A. (Directors: Cary Murnion, Jonathan Milott, Screenwriters: Nick Damici, Graham Reznick) — Lucy emerges from a Brooklyn subway to find that her neighborhood is under attack by black-clad military soldiers. An ex-Marine corpsman, Stupe, reluctantly helps her fight for survival through a civil war, as Texas attempts to secede from the United States of America. Cast: Dave Bautista, Brittany Snow, Angelic Zambrana, Jeremie Harris, Myra Lucretia Taylor, Arturo Castro. World Premiere

Killing Ground / Australia (Director and screenwriter: Damien Power) — Ian and Samantha arrive at an isolated campsite to find an SUV and a tent—with no sign of the occupants. The discovery of a distressed child wandering in the woods unleashes a terrifying chain of events that will test the young couple’s breaking point. Cast: Aaron Pedersen, Ian Meadows, Harriet Dyer, Aaron Glenane. International Premiere

Kuso / U.S.A. (Director: Steven Ellison, Screenwriters: Steven Ellison, David Firth, Zach Fox) — Broadcasting through a makeshift network of discarded televisions, this story is tangled up in the aftermath of Los Angeles’s worst earthquake nightmare. Travel between screens and aftershocks into the twisted lives of the survived. Cast: Iesha Coston, Zack Fox, Hannibal Buress, The Buttress, Tim Heidecker, Mali Matsuda. World Premiere

The Little Hours / U.S.A. (Director and screenwriter: Jeff Baena) — A young servant fleeing from his master takes refuge at a dysfunctional convent in medieval Tuscany. Cast: Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly, Molly Shannon. World Premiere. DAY ONE

XX / U.S.A. (Directors and screenwriters: Annie Clark, Karyn Kusama, Roxanne Benjamin, Jovanka Vuckovic) — This all-female horror anthology features four dark tales from four fiercely talented women. Cast: Natalie Brown, Melanie Lynskey, Breeda Wool, Christina Kirk. World Premiere

SPOTLIGHT
The Spotlight program is a tribute to the cinema we love from throughout the past year.

Colossal / U.S.A. (Director and screenwriter: Nacho Vigalondo) — An unapologetic party girl dreams of a fresh start only to discover a mysterious and fantastical connection between herself and a city-wrecking monster on the other side of the globe. Cast: Anne Hathaway, Dan Stevens, Jason Sudeikis, Tim Blake Nelson, Austin Stowell.

Frantz / France, Germany (Director: François Ozon, Screenwriters: François Ozon, Philippe Piazzo) — In a small German town after World War I, Anna mourns daily at the grave of her fiancé, Frantz, killed in battle in France. One day a young Frenchman, Adrien, also lays flowers at the grave. His presence, so soon after the German defeat, ignites passions. Cast: Pierre Niney, Paula Beer, Ernst Stötzner, Marie Gruber, Johann von Bülow, Anton von Lucke.

Lady Macbeth / United Kingdom (Director: William Oldroyd, Screenwriter: Alice Birch) — Rural England, 1865: Katherine is stifled by her loveless marriage to a bitter man and his unforgiving family. When she embarks on a passionate affair with a stableman from the estate, the force unleashed inside her is so powerful that she will stop at nothing to get what she wants. Cast: Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi Ackie, Christopher Fairbank. U.S. Premiere

Look and See: A Portrait of Wendell Berry / U.S.A. (Directors: Laura Dunn, Jef Sewell) — This cinematic portrait of the changing landscapes and shifting values of rural America in the era of industrial agriculture is seen through the mind’s eye of farmer and writer Wendell Berry. THE NEW CLIMATE

Raw / France (Director and screenwriter: Julia Ducournau) — When a young vegetarian undergoes a carnivorous hazing ritual at vet school, she develops an unbidden taste for meat, with unexpected consequences. Cast: Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss.

Sami Blood / Sweden (Director and screenwriter: Amanda Kernell) — Elle Marja, 14, is a reindeer-breeding Sámi girl. Exposed to race biology examinations at her boarding school and the racism of the 1930s, she starts dreaming of another life—one that demands she become someone else and break all ties with her family and culture. Cast: Lene Cecilia Sparrok, Mia Sparrok, Maj-Doris Rimpi, Olle Sarri, Hanna Alström, Malin Crépin. U.S. Premiere

Their Finest / United Kingdom (Director: Lone Scherfig, Screenwriter: Gaby Chiappe) — During the 1940 London Blitz, untried screenwriter Catrin struggles to find her voice amidst war, as she and a makeshift cast work under fire to create a film to lift the nation’s spirits—and inspire America to join the war. Cast: Gemma Arterton, Sam Claflin, Bill Nighy, Jack Huston, Jake Lacy, Jeremy Irons. U.S. Premiere

KIDS
This section of the Festival is especially for our youngest independent film fans. Programmed in cooperation with Utah Film Center, which presents the annual Tumbleweeds Film Festival, Utah’s premiere film festival for children and youth.

The Mars Generation / U.S.A. (Director: Michael Barnett) — Aspiring teenage astronauts reveal that a journey to Mars is closer than you think. World Premiere. SALT LAKE CITY OPENING NIGHT FILM

My Life as a Zucchini / Switzerland, France (Director: Claude Barras, Screenwriter: Céline Sciamma) — After his mother’s death, Zucchini is befriended by a police officer, Raymond, who accompanies him to a foster home filled with other orphans his age. There, with the help of his newfound friends, Zucchini eventually learns to trust and love as he searches for a new family of his own. World Premiere (English Version)

RED DOG: True Blue / Australia (Director: Kriv Stenders, Screenwriter: Daniel Taplitz) — When 11-year-old Mick is shipped off to his grandfather’s cattle station in Australia’s remote Pilbara, he prepares himself for a life of dull hardship but instead finds myth, adventure and a friendship with a scrappy, one-of-a-kind pup that will change his life forever. Cast: Levi Miller, Bryan Brown, Hanna Mangan-Lawrence, Thomas Cocquerel, Jason Isaacs. North American Premiere

SPECIAL EVENTS
One-of-a-kind moments highlighting new independent works that add to the unique Festival experience. An evolving section, this year includes episodic work, short films and live post-screening discussions.

Downward Dog / U.S.A. (Showrunners: Kat Likkel, John Hoberg, Creators: Michael Killen, Samm Hodges) — The story of a struggling millennial, Nan, as observed from the point of view of her lonely and philosophical dog, Martin. The Festival will premiere the first four episodes of the series, followed by an extended Q&A with the cast, creators and showrunners. Cast: Allison Tolman, Samm Hodges, Lucas Neff, Kirby Howell-Baptiste, Barry Rothbart. World Premiere

The History of Comedy / U.S.A. (Executive Producers: Mark Herzog, Christopher G. Cowen, Sean Hayes, Todd Milliner) — Utilizing archival footage punctuated by contemporary interviews with comedy legends and scholars, this is the history of not only what makes us laugh, but how comedy has affected the social and political landscape throughout history. The Festival will premiere two episodes of this docuseries, Spark of Madness and Going Blue, followed by an extended Q&A. World Premiere

I Love Dick / U.S.A. (Directors: Jill Soloway, Andrea Arnold, Kimberly Peirce, Executive Producers: Jill Soloway, Sarah Gubbins, Andrea Sperling, Victor Hsu) — Chris and Sylvere, a married couple in the intellectual community of Marfa, Texas, become obsessed with a charismatic artist named Dick. What follows is the unraveling of a marriage, the deification of a reluctant messiah and the awakening of the female gaze. The Festival will present the first three episodes of this Amazon original series, followed by an extended Q&A. Cast: Kevin Bacon, Kathryn Hahn, Griffin Dunne, Roberta Colindrez, India Menuez, Phoebe Robinson. World Premiere

RISE / Canada (Director and screenwriter: Michelle Latimer) — This vibrant and immersive documentary series explores the front lines of indigenous resistance. Episodes Apache Stronghold, Sacred Water and Red Power examine factors that threaten indigenous liberation in the 21st century. A series of contrasts, this series is both a condemnation of colonialism and a celebration of indigenous peoples. Continuing Sundance Institute’s ongoing commitment to presenting bold stories from within the Native American and Indigenous communities, we are proud to debut three episodes: Apache Stronghold, Sacred Water and Red Power, followed by an extended Q&A. World Premiere. THE NEW CLIMATE

Shots Fired / U.S.A. (Executive Producers: Gina Prince-Bythewood, Reggie Rock Bythewood, Brian Grazer, Francie Calfo) — After racially-charged shootings in a North Carolina town, an investigator digs into the cases alongside a special prosecutor. Together they seek justice while navigating the ensuing media attention and public unrest threatening the divided town. The Festival will premiere two episodes of this 10-hour series, followed by an extended Q&A. Cast: Sanaa Lathan, Stephan James, Helen Hunt, Richard Dreyfuss, Stephen Moyer, Mack Wilds. World Premiere

TIME: The Kalief Browder Story / U.S.A. (Director: Jenner Furst, Executive Producers: Jenner Furst, Shawn “Jay Z” Carter, Harvey Weinstein, David C. Glasser, Nick Sandow, Julia Willoughby Nason, Michael Gasparro) — After his arrest at age 16, Kalief Browder fought the system and prevailed, despite unthinkable circumstances. He became an American hero. The Festival will debut the first two episodes of this in-depth, humanizing look at a broken justice system, followed by an extended Q&A. World Premiere

Docuseries Showcase — The Festival is proud to debut individual episodes from two exciting new Netflix docuseries, featuring an extended Q&A with directors Morgan Neville and Rashida Jones.

  • Abstract: The Art of Design / U.S.A. (Director and executive producer: Morgan Neville) — A look beyond blueprints and computers into the art and science of design, showcasing great designers from every discipline whose work shapes our world. The Festival will debut one episode of the series, followed by an extended Q&A with Director and Executive Producer Morgan Neville. Cast: Christoph Niemann. World Premiere
  • Hot Girls Wanted: Turned On / U.S.A. (Director: Rashida Jones, “Women on Top,” Executive Producers: Rashida Jones, Ronna Gradus, Jill Bauer, Peter LoGreco) — Porn has gone mainstream; the question is, can we handle it? This exploration of the intersection of sex and technology is told through the stories of the people whose lives are defined by the current explosion of internet porn—whether they’re creating it, consuming it, or both. The Festival will debut one episode of the series, followed by an extended Q&A with Director and Executive Producer Rashida Jones. World Premiere

Independent Pilot Showcase — We are proud to present the world premieres of these outstanding pilot presentations, highlighting the best in episodic series work from the independent community.

  • Playdates / U.S.A. (Writers: Giles Andrew, Dan Marshall, Creators: Giles Andrew, Dan Marshall, Alex Bourne) — Uprooted from their Midwestern life, Bennett, a new stay-at-home dad, and Julie, a working mom, are forced to take their kids on playdates inside the elitist parenting culture of Silicon Beach. Cast: Paul Scheer, Carla Gallo, Miles Fisher, Craig Frank, Gemma Brooke Allen, Landon Gordon. World Premiere
  • Shit Kids / U.S.A. (Director and creator: Kyle Dunnigan) — The daughter of an earth-shatteringly boring couple, along with the son of an equally humdrum set of parents, have decided to plot their parents’ murders. Cast: Kyle Dunnigan, Kevin Berntson, Candace Brown, Margee Magee, Grace van Dien, Doug Noble. World Premiere
  • When The Street Lights Go On / U.S.A. (Director: Brett Morgen, Screenwriters: Eddie O’Keefe, Chris Hutton) — The residents of a small town grapple with the ruthless killing of a young girl and a teacher. Cast: Max Burkholder, Odessa Young, Adam Long, Ben Winchell, Kelli Mayo, Graham Beckel. World Premiere

Made in Cuba — We are proud to present these three cinematic and affecting Cuban short documentaries, reflecting Sundance Institute’s longstanding commitment to international artists. These films were guided by the Institute’s Documentary Film Program in collaboration with La Escuela Internacional de Cine y TV (EICTV) and The Guardian Multimedia Program.

  • Connection (Conectifai) / Cuba (Director: Horizoe Garcia Miranda) — ETECSA—Cuba’s only telephone company—installed Wi-Fi routers in 18 public parks in 2016. For many Cubans, this meant being able to go online for the first time. This film shows us how Cubans of all ages initially explore social media, online dating and more. U.S. Premiere
  • Great (Muy Bien) / Cuba (Director: Sheyla Pool Pástor) — The United States restored diplomatic relations with Cuba in 2015, making it no longer unrealistic for Cubans to dream of one day living and working abroad. Cubans of all ages and diverse aspirations enroll at the makeshift Big Ben English school in Havana. U.S. Premiere
  • House for Sale (Casa en Venta) / Cuba (Director: Emanuel Giraldo Betancur) — After more than 50 years, the ban on individuals in Cuba selling their houses was lifted in 2011. Three Cubans invite us into their homes—full of memories, souvenirs and family members—to hear their “sales pitch.” U.S. Premiere

Midnight Episodic Showcase — For the after-dark crowd, we present the world premieres of two thrilling new episodic additions to our Midnight lineup: Pineapple, from Adaptive Studios, and Snatchers, from Stage 13, followed by an extended Q&A with the creators of both series.

  • Pineapple / U.S.A. (Director and writer: Arkasha Stevenson) — When a miner’s daughter is assaulted in the local coal mine, she utters only one word, leaving the town’s sheriff baffled. The event quickly spirals out of control, impacting the entire town. The Festival will premiere three short-form episodes of this uniquely cinematic drama series. Cast: Tyler Vickers, Kel Owens, Ron Gilbert, Gloria Vonn, Lucille Sharp, Brooklyn Robinson. World Premiere
  • Snatchers / U.S.A. (Directors: Stephen Cedars, Benji Kleiman, Screenwriters: Scott Yacyshyn, Benji Kleiman, Stephen Cedars) — After status-obsessed teen Sara has sex for the first time, she wakes up the next day nine months pregnant—with an alien. Turning to her nerdy ex-bestie, Hayley (the only person she can trust without ruining her reputation), they strive to put an end to all the carnage. The Festival will premiere eight short-form episodes of this otherworldly horror-comedy series. Cast: Mari Nepi, Gabrielle Elyse, Austin Fryberger, J.J. Nolan, Nick Gomez, Rich Fulcher. World Premiere

Short-Form Episodic Showcase — A celebration of the evolving landscape of content consumption, we present these short-form episodic series as new voices in the medium, defying broadcast boilerplates with a redefinition of traditional episodic conventions.

  • The Chances / U.S.A. (Director: Anna Kerrigan, Creators: Josh Feldman, Shoshannah Stern) — Best friends Kate and Michael, who are deaf, try their best to see their friendship through new changes in their lives, as Kate adjusts to being newly married and Michael attempts to get over his ex-boyfriend. The Festival will debut five episodes of this short-form episodic series. Cast: Josh Feldman, Shoshannah Stern, Aaron Costa Ganis, Lucas Near-Verbrugghe, Darryl Stephens, Wilson Cruz. World Premiere
  • Gente-fied / U.S.A. (Creator: Marvin Lemus, Executive Producers: Charles D. King, Aaliyah Williams, America Ferrera) — Seven characters deal with the effects of change in LA’s Boyle Heights. Bicultural millennials and old-school business owners hustle to create spaces that celebrate their Latino identities—even while faced with rent hikes, a housing crisis, and a steady stream of outsiders threatening to gentrify their barrio. The Festival will debut three episodes of this short- form episodic series. Cast: Edsson Morales, Alicia Sixtos, Victoria Ortiz, Yareli Arizmendi, Salvador Velez Jr, Rafael Sigler. World Premiere
  • Strangers / U.S.A. (Director: Mia Lidofsky, Executive Producers: Michael B. Clark, Alex Turtletaub, Jesse Peretz, Mia Lidofsky) — Isobel decides to rent out her spare bedroom in order to generate much-needed extra income after a messy and painful breakup. With the help of her best friend, she navigates the most emotionally, sexually and professionally complicated time of her life, while hosting a constant stream of new guests. The Festival will debut the first three episodes of this short- form episodic series. Cast: Zoë Chao, Meredith Hagner, Jemaine Clement, Breeda Wool, Matthew Oberg, Shiri Appleby. World Premiere

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Boyhood, Beasts of the Southern Wild, Fruitvale Station, Whiplash, Brooklyn, Twenty Feet from Stardom, Life Itself, The Cove, The End of the Tour, Blackfish, Me and Earl and the Dying Girl, Super Size Me, Dope, Little Miss Sunshine, sex, lies, and videotape, Reservoir Dogs, Hedwig and the Angry Inch, An Inconvenient Truth, Precious and Napoleon Dynamite. The Festival is a program of the non-profit Sundance Institute®. 2017 Festival sponsors to date include: Presenting Sponsors – Acura, SundanceTV, Chase Sapphire®, and Canada Goose; Leadership Sponsors – Adobe, AT&T, DIRECTV, and YouTube; Sustaining Sponsors – American Airlines, Canon U.S.A., Inc., Francis Ford Coppola Winery, GEICO, Google VR, The Hollywood Reporter, IMDb, Jaunt, Kickstarter, Omnicom, Stella Artois® and the University of Utah Health. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists. Look for the Official Sponsor seal at their venues at the Festival. sundance.org/festival

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Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

# # #
MEDIA CONTACT:
SPENCER ALCORN
310-360-1981
spencer_alcorn@sundance.org
#Sundance, Sundance Film Festival

SUNDANCE INSTITUTE ANNOUNCES SHORTS FOR 2017 SUNDANCE FILM FESTIVAL

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DECEMBER 6, 2016  

FOR IMMEDIATE RELEASE                              

Park City, UT — Sixty-eight short films, announced today, will complement the lineup of longer fare at the 2017 Sundance Film Festival. The short film slate aligns thematically with other Festival categories, including Midnight and The New Climate, the Festival’s new programming strand highlighting climate change and the environment. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort January 19-29.

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The Institute’s support for short films extends internationally and year-round. Select Festival short films are presented as a traveling program at over 50 theaters in the U.S. and Canada each year, and short films and filmmakers take part in regional Master Classes geared towards supporting emerging shorts-makers  in several cities. Sundance Institute’s Documentary Film Program, supported by the John D. and Catherine T. MacArthur Foundation and in partnership with The Guardian and The New York Times’ Op-Docs, provides grants to makers of documentary shorts around the world, including new filmmakers in Cuba featured in a Special Event program at this year’s Festival.

Mike Plante, Senior Programmer for the Sundance Film Festival, said, “Each year we see more short films from around the country and from more regions around the world, which is exciting as we want to discover new voices to support. This year’s crop captures the full spectrum of what short films can be: emotional, hilarious, horrifying and touching — sometimes all at once.”

Among the shorts the Festival has shown in recent years are World of Tomorrow, Thunder Road, Whiplash, The Tsunami and the Cherry Blossom, Gregory Go Boom and Edmond.

The Short Film program is presented by YouTube.

U.S. NARRATIVE SHORT FILMS

American Paradise / U.S.A. (Director and screenwriter: Joe Talbot) — A desperate man in Trump’s America tries to shift his luck with the perfect crime in this story inspired by true events.

Cecile on the Phone / U.S.A. (Director: Annabelle Dexter-Jones, Screenwriters: Annabelle Dexter-Jones, Ellen Greenberg) — Overwhelmed by doubt and confusion after her ex-boyfriend’s return to New York, Cecile embarks on a series of telephone conversations that serve only to distract her from the one conversation she really needs to have.

Come Swim / U.S.A. (Director and screenwriter: Kristen Stewart) — This is a diptych of one man’s day, half impressionist and half realist portraits.

GOOD CRAZY / U.S.A. (Director and screenwriter: Rosa Salazar) — A complex chick deals with a vanilla beau, a shitty brunch and a dead coyote all in a Los Angeles day. There’s batshit crazy and then there’s good crazy—she fits somewhere in between.

Hardware / U.S.A. (Director: Stephen Jacobson, Screenwriters: Ellen Stringer, Stephen Jacobson) — An amateur electronic-drum enthusiast travels to a housewares trade show looking to strike up the perfect business partnership. When things don’t go as planned, he finds himself at the mercy of the electronic drumbeat playing in his head.

Hold On / U.S.A. (Director and screenwriter: Christine Turner) — Family bonds are tested when a young man is left to care for his grandmother one morning.

Hot Seat / U.S.A. (Director and screenwriter: Anna Kerrigan) — Teenaged Andrea uses a male stripper to gain the respect and admiration of cool girl Daphne in this exploration of coming-of-age sexuality and teen girls’ complex relationships, based on a true story.

I Know You from Somewhere / U.S.A. (Director and screenwriter: Andrew Fitzgerald) — A young woman incurs the wrath of the internet after she inadvertently becomes a viral sensation.

Kaiju Bunraku / U.S.A. (Directors: Lucas Leyva, Jillian Mayer, Screenwriter: Lucas Leyva) — Here’s a day in the life of a husband and wife living in a world of giant monsters.

Laps / U.S.A. (Director and screenwriter: Charlotte Wells) — On a routine morning, a woman on a crowded New York City subway is sexually assaulted in plain sight.

LostFound / U.S.A. (Director: Shakti Bhagchandani, Screenwriters: Shakti Bhagchandani, Emre Gulcan) — This story portrays a day in the life of a woman in the Nation of Islam.

Lucia, Before and After / U.S.A. (Director and screenwriter: Anu Valia) — After traveling 200 miles, a young woman waits out Texas’s state-mandated 24-hour waiting period before her abortion can proceed.

New Neighbors / U.S.A. (Director and screenwriter: E.G. Bailey) — How far will a mother go to protect her children?

Night Shift / U.S.A. (Director and screenwriter: Marshall Tyler) — Get a glimpse into a day in the life of a bathroom attendant in a Los Angeles nightclub.

Rubber Heart / U.S.A. (Director: Lizzy Sanford, Screenwriters: Lizzy Sanford, Anna Cordell) — After a painful dry spell, a woman attempts to have a one-night stand.

Shinaab / U.S.A. (Director and screenwriter: Lyle Corbine) — A young Anishinaabe man struggles with his place in the inner city of Minneapolis.

Toru / U.S.A. (Directors and screenwriters: Jonathan Minard, Scott Rashap) — An infant’s life is transformed by a new technology.

INTERNATIONAL NARRATIVE SHORT FILMS

5 Films About Technology / Canada (Director and screenwriter: Peter Huang) — Take a satirical look at the dumber side of technology.

And so we put goldfish in the pool. / Japan (Director and screenwriter: Makoto Nagahisa) — One summer day, 400 goldfish were found in the swimming pool of a secondary school. This is a story about the four 15-year-old girls who put them there.

And The Whole Sky Fit In The Dead Cow’s Eye / Chile, U.S.A. (Director and screenwriter: Francisca Alegría) — Emeteria is visited by the ghost of her patrón, Teodoro. She believes he has come to take her to the afterlife—but he has more devastating news.

Dadyaa — The Woodpeckers of Rotha / Nepal, France (Directors and screenwriters: Pooja Gurung, Bibhusan Basnet) — Atimaley and Devi’s village is haunted by memories. When a dear friend leaves the village without saying goodbye, the old couple faces a dilemma: keep living with the memories or leave the village for good?

Dawn of the Deaf / United Kingdom (Director and screenwriter: Rob Savage) — When a strange sound wipes out the hearing population, a small group of deaf people must band together to survive.

Dear Mr. Shakespeare / United Kingdom (Director: Shola Amoo, Screenwriter: Phoebe Boswell) — An exploration of Shakespeare’s intentions when writing Othello explores the play’s racial themes in historical and contemporary settings, and draws wider parallels between immigration and blackness in the UK today.

The Geneva Convention / France (Director and screenwriter: Benoit Martin) — As Hakim is waiting for the bus after class, he is caught in a vendetta between teenagers. He’s not exactly keen to be involved, but can he avoid it?

HEAT / Poland (Directors and screenwriters: Agata Trzebuchowska, Mateusz Pacewicz) — A young boy does an unusual favor for a friend, assuming his identity to visit his senile grandmother. The woman takes him for a walk, and tells him about the biggest mystery of her life.

Kao Shi (A Test) / China (Director and screenwriter: Zuxiang Zhao) — In a small-town high school, days before the college entrance exam, teacher Chen Jun finds out that the father of his most promising student has died in a mining accident. Telling him—or not—bears heavy consequences.

MappaMundi / Austria (Director and screenwriter: Bady Minck) — Through the eyes of cosmic cartographers, the viewer takes a voyage through 950 million years of Earth history and 15,000 years of cartography. This accelerated journey visualizes the change in our world—a change unnoticeable in a single lifetime.

Mare Nostrum / France, Syrian Arab Republic (Directors: Rana Kazkaz, Anas Khalaf, Screenwriter: Rana Kazkaz) — On a Mediterranean shore, a Syrian father makes a decision that puts his daughter’s life at risk.

Pedro / Portugal (Directors and screenwriters: André Santos, Marco Leão) — Pedro gets home at dawn. Before the young boy falls asleep, his lonely mother drags him to the beach.

Slapper / Australia (Director: Luci Schroder, Screenwriters: Luci Schroder, Sam West) — A broke and rebellious teen navigates a suburban wasteland, hustling money for the morning-after pill—before it’s too late.

What Tears Us Apart / France (Director and screenwriter: Wei Hu) — A Chinese couple visits the daughter they gave up for adoption 30 years ago. While meeting the French adoptive parents, language barriers become apparent and the birth mother’s hidden emotions rise to the surface.

DOCUMENTARY SHORT FILMS

Alone / U.S.A. (Director: Garrett Bradley) — This investigation into the layers of mass incarceration and its shaping of the modern black American family is seen through the eyes of a single mother in New Orleans, Louisiana.

Bayard & Me / U.S.A. (Director: Matt Wolf) — Walter Naegle’s boyfriend, Bayard Rustin, was a famous civil rights activist 30 years Walter’s senior. In the 1980s, Bayard decided to adopt Walter for legal protection. This love story is about a time when gay marriage was inconceivable.

Close Ties / Poland (Director: Zofia Kowalewska) — Barbara and Zdzislaw will soon celebrate their 45th anniversary—despite their constant bickering, and the fact that Zdzislaw spent eight of those years living with another woman. This is a portrait of a relationship that, somewhat inexplicably, perseveres.

Deer Squad: The Movie / U.S.A. (Directors: Pipus Larsen, Kenneth Gug, Scott J. Ross) — Kelvin Peña, a charismatic 17-year-old from rural Pennsylvania, shares his story of going viral after befriending a group of wild deer in his backyard.

The Diver / Mexico (Director: Esteban Arrangoiz) — Julio César Cu Cámara is the chief diver in the Mexico City sewer system. His job is to repair pumps and dislodge garbage that flows into the gutters to maintain the circulation of sewage waters. THE NEW CLIMATE

Fish Story / United Kingdom (Director: Charlie Lyne) — Behind a fishy tale lies this search for the truth.

Hairat / Ethiopia (Director: Jessica Beshir) — This is a visual and lyrical exploration of the nightly ritual between a man in Eastern Ethiopia and his feral companions.

Legal Smuggling with Christine Choy / U.S.A. (Director: Lewie Kloster) — Academy Award–nominated documentary filmmaker Christine Choy undergoes an adventure of wild proportions when she accidentally smuggles cigarettes.

My Father’s Tools / Canada (Director: Heather Condo) — Stephen continues producing traditional baskets to honor his father and thus finds peace in his studio as he connects with the man who taught him the craft.

Project X / U.S.A. (Directors: Laura Poitras, Henrik Moltke) — A top secret handbook takes viewers on an undercover journey to the site of a hidden partnership. Based on NSA documents, this film reveals the inner workings of a windowless skyscraper in Manhattan.

The Rabbit Hunt / U.S.A. (Director: Patrick Bresnan) — On the weekends during the harvest season, 17-year-old Chris and his family hunt rabbits in the sugarcane fields of the Florida Everglades.

Ten Meter Tower / Sweden (Directors: Maximilien Van Aertryck, Axel Danielson) — People who have never been up a 10-meter diving tower must choose whether to jump or climb down in this entertaining study of people in a vulnerable position.

Tough / United Kingdom (Director: Jennifer Zheng) — New light is shed on childhood cultural misunderstandings when a Chinese mother and her British-born daughter speak as adults for the first time. Some things can only be understood with maturity.

Visions of an Island / U.S.A. (Director: Sky Hopinka) — Indigenous and foreign presences coexist on an Alaskan island in the center of the Bering Sea. THE NEW CLIMATE

Waiting for Hassana / Nigeria (Director: Ifunanya Maduka) — In 2014, 276 teenage girls came together for exams in Chibok, Nigeria—by dawn, nearly all had disappeared, and their school was burned to the ground. Jessica, an escapee, shares her haunting account of a friendship violently interrupted by Boko Haram.

White Riot: London / United Kingdom (Director: Rubika Shah) — In 1977, immigration divides Britain. What happens when a punk fanzine challenges the status quo?

MIDNIGHT SHORT FILMS

Do No Harm / New Zealand (Director and screenwriter: Roseanne Liang) — 3:00 a.m., 1980s Hongjing: In an aging private hospital, a single-minded surgeon is forced to break her physician’s oath when violent gangsters storm in to stop a crucial operation.

Fucking Bunnies / Finland (Director: Teemu Niukkanen, Screenwriters: Antti Toivonen, Teemu Niukkanen) — Raimo’s comfortable, middle-class bubble is burst when a Satan-worshipping sex cult moves in next door.

Hot Winter: A film by Dick Pierre / U.S.A. (Director: Jack Henry Robbins, Screenwriters: Jack Henry Robbins, Nunzio Randazzo) — One of the first films in American cinema to address climate change, Hot Winter: A film by Dick Pierre, was also a hardcore porno. All sex scenes have been removed as to not distract from the conscious message. THE NEW CLIMATE

A Nearly Perfect Blue Sky (Un ciel bleu presque parfait) / France (Director and screenwriter: Quarxx) — You might think that Simon lives a monotonous life, but you would be wrong—contrary to appearances, he doesn’t live alone among the ruins of an old farm. Between kidnapper and guardian angel, he never takes his eyes off his roommate.

Pussy / Poland (Director and screenwriter: Renata Gasiorowska) — Alone at home one evening, a young girl decides to have a solo pleasure session—but not everything goes according to plan.

The Robbery / U.S.A. (Director: Jim Cummings, Screenwriters: Jim Cummings, Dustin Hahn) — Crystal robs a liquor store—it goes pretty OK.

Summer’s Puke Is Winter’s Delight / Japan (Director and screenwriter: Sawako Kabuki) — Painful events become memories over time. Still, we vomit and eat again. Life is eco.

ANIMATED SHORT FILMS

The Bald Future / France (Director and screenwriter: Paul Cabon) — Being a bald man sucks. Knowing you’ll become one is worse.

Black Holes / U.S.A., France (Directors and screenwriters: David Nicolas, Laurent Nicolas) — Dave is about to lead the first mission to Mars when he’s teamed up with a sentient melon, who claims to be the reincarnation of a fashion designer, upstaging his big moment and driving him to the brink of madness.

Broken – The Women’s Prison at Hoheneck / Germany (Directors: Volker Schlecht, Alexander Lahl, Screenwriters: Alexander Lahl, Max Mönch) — This animated documentary about Hoheneck, the main women’s prison in former East Germany, is based on original interviews with former inmates. It’s a film about political imprisonment, forced labor and enormous profits on both sides of the Iron Curtain.

Drawn & Recorded: Teen Spirit / U.S.A. (Director: Drew Christie, Screenwriters: Drew Christie, Bill Flanagan) — This is the story behind one of the most iconic songs ever written, animated in the style of a pop-up book.

How’s your prostate? / France (Directors: Jeanne Paturle, Cécile Rousset, Screenwriters: Jeanne Paturle, Cécile Rousset, Cécile Mille) — One friend tells the other about the very strange time when, beside a swimming pool, she learned about her father’s prostate, his erectile function and his nighttime fantasies.

It’s a Date / U.S.A. (Director and screenwriter: Zachary Zezima) — This film explores miscommunication, perceptions and vulnerability in the modern world. Everyone is an alien at first.

Jonas and the Sea / Netherlands (Director: Marlies Van der Wel, Screenwriters: Ruben Picavet, Marlies Van der Wel) — Jonas has dreamed of living in the sea all his life, but it’s impossible. Or is it?

The Laughing Spider / Japan (Director: Keiichi Tanaami) — The early childhood memory of aerial attacks leaves a lasting impression, with strong stimulus and disquiet.

LOVE / France, Hungary (Director and screenwriter: Réka Bucsi) — Abstract haiku-like situations reveal the changing atmosphere on one planet caused by a meteoric impact in a distant solar system. Inhabitants on this pulsing planet become one with each other, in various ways, in this three-chapter exploration of affection.

Nighthawk / Slovenia, Croatia (Director: Špela Čadež, Screenwriters: Gregor Zorc, Špela Čadež) — Attempting to remove an unresponsive badger from a dark road, a police patrol soon realizes that the animal is not dead but rather dead drunk. Things take an even stranger turn when the creature wakes up.

Nutag — Homeland / Canada (Director and screenwriter: Alisi Telengut) — This hand-painted visual poem explores the ideas of diaspora, homeland and the mass deportations of the Kalmyk people during World War II.

Summer Camp Island / U.S.A., South Korea (Director and screenwriter: Julia Pott) — Oscar and his best friend, Hedgehog, just got dropped off at summer camp. Once the parents leave the island, the strangeness lurking beneath the surface is revealed—aliens exist, horses become unicorns and there are monsters under the bed.

Trumpet Man / Hong Kong (Director and screenwriter: Emily Wong) — A turntable springs out a woman named Avocado; her instinct creates a man called Soul. Passion swings both, and an uncertain madness strikes Soul heavily. Seeds of passion breed conflict among five men, eventually leading Soul to a deeper understanding of life.

Victor & Isolina / U.S.A. (Director: William Caballero) — Creatively visualized through 3D printing, two elderly Latinos embark on a resonating he said/she said account of the events that led them to live separately after more than 50 quirky and stressful years together.

One film announced today was funded through a Kickstarter campaign: Black Holes.

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Boyhood, Beasts of the Southern Wild, Fruitvale Station, Whiplash, Brooklyn, Twenty Feet from Stardom, Life Itself, The Cove, The End of the Tour, Blackfish, Me and Earl and the Dying Girl, Super Size Me, Dope, Little Miss Sunshine, sex, lies, and videotape, Reservoir Dogs, Hedwig and the Angry Inch, An Inconvenient Truth, Precious and Napoleon Dynamite. The Festival is a program of the non-profit Sundance Institute®. 2017 Festival sponsors to date include: Presenting Sponsors – Acura, SundanceTV, Chase Sapphire®, and Canada Goose; Leadership Sponsors – Adobe, AT&T, DIRECTV, and YouTube; Sustaining Sponsors – American Airlines, Canon U.S.A., Inc., Francis Ford Coppola Winery, GEICO, Google VR, The Hollywood Reporter, IMDb, Jaunt, Kickstarter, Omnicom, Stella Artois® and the University of Utah Health. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists. Look for the Official Sponsor seal at their venues at the Festival. sundance.org/festival

Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

# # #
CONTACT: SPENCER ALCORN
                       310-360-1981
                       SPENCER_ALCORN@SUNDANCE.ORG
Palm Springs International Film Festival

PALM SPRINGS INTERNATIONAL FILM FESTIVAL ANNOUNCES AWARDS BUZZ PROGRAM

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FOR IMMEDIATE RELEASE

 Palm Springs, CA (December 6, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF), scheduled January 2-16, 2017, announced the films selected to compete for the FIPRESCI Award in the Awards Buzz section.  The Festival will screen 43 of the 85 official submissions to the Academy of Motion Picture Arts and Sciences for Best Foreign Language Film.  Additional film programs will be announced in the upcoming weeks.

Julieta
Neruda – Gael García Bernal (left) and Diego Muñoz (right)
Toni Erdmann

The Awards Buzz section is selected by Festival programmers as the strongest entries in this year’s Academy Awards® race.  A special jury of international film critics will review these films to present the FIPRESCI Award for Best Foreign Language Film of the Year, as well as Best Actor and Best Actress in this category.  The following 43 films are selected to screen (in alphabetical order by country):

o   The Distinguished Citizen (Argentina), Directors: Mariano Cohn, Gastón Duprat

o   Stefan Zweig: Farewell to Europe (Austria), Director: Maria Schrader

o   The Ardennes (Belgium), Director: Robin Pront

o   Sealed Cargo (Bolivia), Director: Julia Vargas Weise

o   Death in Sarajevo (Bosnia & Herzegovina), Director: Danis Tanović

o   It’s Only the End of the World (Canada), Director: Xavier Dolan

o   Neruda (Chile), Director: Pablo Larraín

o   On the Other Side (Croatia), Director: Zrinko Ogresta

o   Land of Mine (Denmark), Director: Martin Pieter Zandvliet

o   Clash (Egypt), Director: Mohamed Diab

o   Mother (Estonia), Director: Kardi Kousaar

o   The Happiest Day in the Life of Olli Mäki (Finland), Director: Juho Kuosmanen

o   Elle (France), Director: Paul Verhoeven

o   Toni Erdmann (Germany), Director: Maren Ade

o   Kills on Wheels (Hungary), Director: Attila Till

o   Sparrows (Iceland), Director: Rúnar Rúnarsson

o   Interrogation (India), Director: Vetri Maaran

o   The Salesman (Iran), Director: Asghar Farhadi

o   El clásico (Iraq), Director: Halkawt Mustafa

o   Sand Storm (Israel), Director: Elite Zexer

o   Fire at Sea (Italy), Director: Gianfranco Rosi

o   Nagasaki: Memories Of My Son (Japan), Director: Yoji Yamada

o   Very Big Shot (Lebanon), Director: Mir-Jean Bou Chaaya

o   The Liberation of Skopje (Macedonia), Directors: Rade Šerbedžija, Danilo Šerbedžija

o   The Black Hen (Nepal), Director: Min Bahadur Bham

o   Tonio (Netherlands), Director: Paula van der Oest

o   A Flickering Truth (New Zealand), Director: Pietra Brettkelly

o   The King’s Choice (Norway), Director: Erik Poppe

o   The Idol (Palestine), Director: Hany Abu-Assad

o   Ma’ Rosa (Philippines), Director: Brillante Mendoza

o   Afterimage (Poland), Director: Andrzej Wajda

o   Sieranevada (Romania), Director: Cristi Puiu

o   Paradise (Russia), Director: Andrei Konchalovsky

o   Barakah Meets Barakah (Saudi Arabia), Director: Mahmoud Sabbagh

o   Train Driver’s Diary (Serbia), Director: Miloš Radović

o   Apprentice (Singapore), Director: Boo Junfeng

o   Houston, We Have a Problem! (Slovenia), Director: Ziga Virc

o   Call Me Thief (South Africa), Director: Daryne Joshua

o   The Age of Shadows (South Korea). Director: Kim Jee-woon

o   Julieta (Spain). Director: Pedro Almodóvar

o   A Man Called Ove (Sweden), Director: Hannes Holm

o   My Life as a Zucchini (Switzerland), Director: Claude Barras

o   Under the Shadow (UK), Director: Babak Anvari

 

About The Palm Springs International Film Festival

The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, a glamorous, black-tie event attended by 2,500.  The Film Awards Gala honors the year’s best achievements in cinema in front of and behind the camera.  The celebrated list of talents who have been honored in recent years includes Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.  PSIFF is organized by The Palm Springs International Film Society, a 501(c)(3) charitable non-profit organization with a mission to cultivate and promote the art and science of film through education and cross-cultural awareness.

For more information, call 760-778-8979 or 800-898-7256 or visit www.psfilmfest.org.

 # # #

Contacts

Steven Wilson / Ashley Patterson                                                                             David Lee

B|W|R Public Relations                                                                                                 PSIFF

212.901.3920 / 310.550.7776                                                                                       760.322.2930

Steven.wilson@bwr-pr.com / ashley.patterson@bwr-pr.com                       david@psfilmfest.org

 

 

 

distribution

Disney Domination: David Kornblum to accept studio’s ‘Distributor of the Year’ Award

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Posted by Larry Gleeson

By Doris Toumarkine

screen-shot-2016-12-03-at-9-55-52-amThe notion of longevity in Hollywood is getting rarer and rarer as old stars fade and most traditional studios change their ways. But longevity is what springs to mind when the subject is David Kornblum, VP of theatrical sales and distribution, APAC/Russia and global acquisitions, The Walt Disney Company Asia.

Kornblum will accept the CineAsia “Distributor of the Year” Award being given to Walt Disney Studios Motion Pictures International at the final-night Awards Ceremony on Dec. 8 at the Grand Hyatt Hong Kong.

A 27-year Disney veteran based in the company’s Burbank offices, Kornblum oversees 12 direct distribution offices while keeping an eye on a number of sub-distribution offices there handling Disney product. His oversight covers approximately 35 markets (including several quite small) across a vast swath of territories comprising APAC (Asia-Pacific) and Russia. These include China, Korea, Hong Kong, Taiwan, Japan, India, Australia/New Zealand and on and on to places like the CIS (Commonwealth of Independent States like Kazahkstan, etc.), Singapore, Malaysia, etc.

Just as Kornblum is no stranger to Asia, he’s also no stranger to industry recognition, having been honored in 2013 as recipient of CinemaCon’s Passepartout award.

So what changes over these years has Kornblum seen that have impacted Disney’s business? Remember, this is the legendary Disney, which has barely tampered with its “secret sauce” throughout its long history as a giant of the industry.

One change is the familiar plot turn that began early in the past decade or so with China’s economic rise and its attendant film boom, which continues to play out (in spite of some softening earlier this year in film attendance). But China remains robust and Disney continues as a chart-topper. Says Kornblum, “China’s growth has now made it the global territory with the most screens [as announced in mid-November], having surpassed the U.S. with more than 40,000 screens. To put this growth in perspective, in 2012 China’s overall box-office take was $2 billion and should conclude this year at just shy of $7 billion.”

Overall in his territories, improvements to exhibition infrastructure have been “a boon to business,” he observes, especially in what he describes as “emerging” territories like China and Russia that are relative newbies to vibrant movie cultures and mass theatre attendance. Being the newcomer, Kornblum explains, is often an advantage vs. “mature” markets like Australia or New Zealand, where older moviegoing legacies from the last century like aging venues and even aging populations have an impact.screen-shot-2016-12-03-at-9-59-29-am

“In places like China where cinemagoing is relatively new, there are more youthful populations who are attending [a spike that has China now building 27 new auditoriums a day]. These [younger populations] are also in places like the Philippines, where 44 percent of the population is under 20 years of age, or Indonesia where it’s 37 percent and India with an astounding 41 percent of the population under 20. But in a ‘mature’ film-going country like Japan or Taiwan, you have only 19 percent or thereabouts under 20. You can do well in these markets but need the right movie.”

And then there are the vagaries of admissions numbers. Like China’s, Korea’s admissions slowed down a little this year, notes Kornblum, but Hong Kong and Australia have been up, as has Russia “at a whopping nine percent.”

“But with young audiences predominant in some markets and older in others, you have to adjust your film releases to that disparity.”

Beyond the diversity and beyond so many numbers to juggle, Kornblum is emphatic that “whether it’s a more product-driven mature market that requires even more of an exhibition/distribution partnership or an emerging territory—China being the prime example—that is more market-driven, it’s the product that drives everything. Fortunately, Disney is well-placed in these circumstances, as our storytelling is usually universal and targeting broadly.”

Another big stimulus for Disney business in Kornblum’s territories has been the consummation of the digital transition. “Only four years ago, digital was still growing, but now most of the regions have been entirely digitized. That makes releasing matters easier but also more complex,” he explains, “because of all the quick adjustments we can make to programming in the theatres, and with the increased speed and efficiency we have, we can better manicure our releases.”

Kornblum also cites the success of Disney’s branding efforts on behalf of its Walt Disney and Pixar feature animation and live-action Marvel and Lucasfilm releases, whose division names (and not just their respective titles) send signals of quality and resonate with audiences. “This Disney branding effort has now taken root—we call these brands the five pillars of our production philosophy—and they give us a calling card to customers around the world.”

Turning to “report cards,” recent Disney stats for APAC/Russia certainly attest to the power of that calling card in these regions and the quality of the films behind the five brands. Thus far in calendar year 2016, Disney titles that predominated as the highest chart scorers for the APAC/Russia region were Captain America: Civil War, Zootopia, The Jungle Book and Star Wars: The Force Awakens.

And as gauged by the various markets it serves, Disney this year has commanded dominant market share as number one (whether as Hollywood release or industry release) in just about every key market, again with titles like Captain America: Civil War, Zootopia, The Jungle Book and Finding Dory going to the top of this class.

screen-shot-2016-12-03-at-10-02-07-amThe big bumps in film-going across the emerging territories in Kornblum’s APAC/Russia region have been due, he says, to more “cinema-literate” populations, which translates to more people eager to watch and discover films. This surge in his territories has translated to APAC/Russia now accounting for over half of the world’s international box office.

With so many energizing forces and such impressive box-office results, Kornblum happily reports that “it’s a wonderful time to be in the theatrical distribution business.”

But theatres too need to continue to do their share, especially as Kornblum reminds, ticket prices inevitably rise. But, praising the new amenities being offered, he predicts “there will be no negative impact [on attendance] as long as theatres continue to enhance. You can say that theatres need to be like good restaurants. People love to eat at home because it’s easier and cheaper. But craving both food and that communal experience, they also love to step out to restaurants.”

In addition to theatre advancements and amenities “doing a great job” to attract filmgoers and these improvements gaining more of a foothold (3D, premium-large-format screens from IMAX and others, enhanced sound systems like Dolby’s Atmos and Barco’s Auro 11.1, etc.), Kornblum cites “immersive HDR and laser, the next steps in cinema presentation now happening, and we love these.” He’s also a big fan of great seating like that done by AMC and so many others, including the 4DX and D-BOX motion-controlled seating and their immersive scene-appropriate ride thrills or water spritzes.

“The larger screens are increasingly what audiences like to see and they still vote for 3D especially in China and Russia,” which as emerging markets mostly skipped the multiplex revolution of the late 1900s and jumped right into this century’s better theatres. But mature territories like Australia and Korea have lower 3D consumption, he adds.

Getting back to “restaurants,” Kornblum points to in-theatre dining as a popular amenity (pioneered by Village Roadshow and Hoyts in Australia) that has clicked. Also important (and pardon another restaurant reference), he believes it’s vital that theatres offer a varied menu—i.e., different kinds of films to customers. Kornblum points to repertory offerings that Disney can provide from its rich library of beloved cinema classics. “We have significant successes working with our exhibition partners on these repertory programs, introducing both kids and adults to new and old programming and often on theatre ‘off’ nights.”

As Disney’s man in Asia and Russia and traveling the silk and other roads of his territories about 15 to 20 weeks a year, Kornblum says, “I’ve been doing this for twenty odd years and it’s the way I roll!”

The regions are a long haul from where he lives in Southern California and where he grew up. Kornblum was driven to the business by a familiar force: a love of movies. And his innate wanderlust fueled his desire to hit foreign roads. “As a kid, I loved seeing films in theatres on the big screen,” he emphasizes, “because we all know it’s the very best way to see them. But I also learned back then to love all the numbers and statistics relative to this business.” Then came a love of travel and learning about and connecting to cultures outside the U.S. “After I graduated UCI [the University of California at Irvine], I went off to Europe and that did it.”

Prior to Disney, Kornblum worked in corporate finance at Paramount and for the independent Atlantic Entertainment. In earlier Disney roles in international sales and distribution, he oversaw sales planning, strategy and analysis. During his tenure at Disney, the company first crossed the $1 billion annual box-office threshold, with that figure growing dramatically.

As if his vast Asian and Russian expanses were a Lilliputian Liechtenstein, Kornblum for years has also had parallel chores for Disney with acquisition duties, hunting in places like South America for local productions to acquire for his territories that flow through the Buena Vista International pipeline. Like some kind of “marvel” of a superhero, he shrugs off the workload: “This is another business for me.”

Back wearing his distribution cape, Kornblum says that this year’s biggest surprise for him was the success of Zootopia, which “exceeded all expectations because of the great humor and its appeal to both young and old. It was also a fantastic production and also the subtext of segregation and profiling which was very astute and reflected our society today and appealed to adults. The Jungle Book was another surprise. With the latest in visual effects that also provided an immersive experience and fantastic storytelling from Jon Favreau, we were able to reinvigorate a tale that was over 100 years old. We had another movie we loved, Queen of Katwe, that was terrific but underperformed and reminded that in today’s world there still remain challenges in bringing great movies to people.”

Regarding the recent U.S. election with its message that the powers-that-be, including the media, need to get closer to the natives and understand them, Kornblum responded to a question about how he and Disney manage to get a grip on local tastes and cultures in the APAC/Russia markets. “We have a decentralized approach, so we have local managers and they are the experts and run the business for us. They have fingers on the pulse of what is happening and they drive our business in their respective territories. They really do it all.”

Marvel’s Doctor Strange became China’s number-one grosser in mid-November, and at press time expectations were high for the gorgeous animated South Sea tale Moana. Says Kornblum, “We expect great things from all of our brands now, beginning with Moana. We also have for later this year Rogue One, our first-ever Star Wars standalone, which is not associated with the Skywalker saga but is in the Star Wars universe with its story about a man on a mission. For early 2017, there’s the live-action Beauty and the Beast, which stars Dan Stevens [who broke through in “Downton Abbey”] and he’s great. And in early spring comes Marvel’s Guardians of the Galaxy Vol. 2, follow-up to the first Guardians hit.”

With Disney productions perennially strong across so many industry changes, years and territories, the question arises (as does that restaurant analogy) if Kornblum can reveal the studio’s “secret sauce.” He reiterates that it’s the universal storytelling that engages and that reaches movie fans from eight to 80. “It’s what Walt Disney wanted of the company and what the Disney brand signifies. Ours are movies for the whole family and for others, and our five brand pillars exemplify our strategy.”

He ends with some soothing words for the industry: “Anything wrong with the movie business can be resolved by a good movie.” Some might quibble that it’s easier said than done, but Disney, with help from people like Kornblum, constantly does it.

(Source: http://www.filmjournal.com)

Toronto International Film Festival

Q&A: Gosling and Stone on ‘La La Land’ & their movie romance

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Posted by Larry Gleeson

By AP Film Writer Jake Coyle

NEW YORK (AP) — Bogart and Bacall. Tracy and Hepburn. Stone and Gosling.

The hugely charming Los Angeles musical “La La Land” seals it: Emma Stone and Ryan Gosling have entered the ranks of great cinematic couples. Their easy rapport together was first hinted at with “Crazy, Stupid, Love,” and carried through the crime drama “Gangster Squad.”

Those, though, were only appetizers to Damien Chazelle’s “La La Land,” in which they star as two flailing aspirants trying to make it in LA. Stone plays an actress, Gosling a jazz pianist. They sing. They dance. They patter like Cary Grant and Katharine Hepburn.

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Ryan Gosling, right and Emma Stone dancing in a scene from their upcoming movie, La La Land. (Photo Credit: Dale Robinette/Lionsgate)

This image released by Lionsgate shows Ryan Gosling, right, and Emma Stone in a scene from, “La La Land.” (Dale Robinette/Lionsgate via AP)

“La La Land,” a resurrection of joyful 1930s studio musicals on contemporary LA streets, is an impassioned argument for the movies, in all their widescreen glory. And part of that vintage Hollywood experience includes big ol’ movie stars.

In an era that has struggled to produce them, Stone and Gosling stand apart as two of our best answers. In “La La Land,” they’re our version of Fred Astaire and Ginger Rogers, maybe not quite as light on their feet (who is?), but more natural and funnier.

How far will they push their on-screen chemistry? “Do you think people would let us do anything together again?” Stone asked her co-star during an interview earlier this fall. “I don’t think we’d be allowed.”

After greeting warmly (Gosling had been shooting “Blade Runner 2049”), the actors sat down to reflect on why they go so well together, their own tortured paths to Hollywood success and just how deep their movie love runs.

AP: Did either of you hesitate about working together again?

STONE: That was an exciting aspect that it was our third thing together. The characters also have by the end five years between them and I think we’d probably known each other that long by that point. It’s kind of nice to not have to find that when the story depends so much on the connection between the two of them.

GOSLING: It’s also nice when you know the people you’re working with. Most of the time, everyone’s a stranger. It’s fine. That’s your job to make it seem like you have a relationship. But it certainly makes it a lot easier when you have one. And you listen to the way that person says their line more closely. You watch the way they’re playing the scene because you know each other. You’re more engaged in the scene than you would be otherwise.

AP: Did you feel a connection right away on your first film together, “Crazy, Stupid, Love”?

GOSLING: We’ve been asked to improvise a lot in the films that we’ve done together. I think even in our first audition we were asked to improvise. That just kind of connects actors in a way that just saying dialogue doesn’t do.

AP: Emma, you started in improv comedy.

STONE: That was the thing I loved to do the most. I thought I was just going to do comedy forever. I’ve always really loved to improvise but maybe strangely less so as time goes on. (She laughs.) Sometimes it’s nice to have a script nailed down. But comedy improv is pretty different from dramatic improv. Comedy improv is a lot of heckling.

AP: You both seem to a certain degree like comedic actors at heart.

STONE: It’s the best. It’s my favorite. Not to the exclusion of other types of films, but I do love comedy. That will always be my first love. (Turns to Gosling.) What do you think?

GOSLING: Well I don’t have as much experience with it…

STONE: But you’re so good at it.

GOSLING: What’s nice about it is you want to feel that whatever you’re doing is working. With comedy, it’s funny or it’s not.

AP: The film portrays some soul-crushing auditions. Were they familiar?

STONE: The first audition was inspired by Ryan’s story.

GOSLING: Yeah, where I had to cry and this lady took a call in the middle of it. And then just told me to go on, “Pick up where I left off.” That was part of what was great about making this film was Damien encouraged us to bring our experiences to these characters.

AP: Were they traumatic experiences?

GOSLING: Yeah, but it was so nice to see it realized in a movie and see Emma doing it. We made some lemonade out of lemons.

AP: Did either of you ever think about giving up?

STONE: I definitely thought about it. It was like a twice a year thing. Every six months there was a little meltdown. I’ve also thought about giving up in the middle of shoots before. “Well, after this one, I’m just never going to work again. That’s going to be fine. I’m never, ever going to work again because this is clearly not for me.”

GOSLING: About two week before shooting. “Can I still get out of this? They have time to find someone else.” It can be very discouraging. It’s kind of built in a way to discourage you. In some ways now being outside of it, I realize how inefficient it is, the auditioning process. It seems to reward people who are good at auditioning, which doesn’t really have anything to do with what happens when you get on set. The kind of people who are really great in a film I think you’ll find are for the most part pretty bad at auditioning. Yet they never feel they need to tinker with that system at all.

AP: How do you feel about being part of a proudly big-screen film like “La La Land” at a time when television is seen as eclipsing the movies?

STONE: I don’t think films are less than TV now, but there are some amazing characters on TV, so I understand why people want to do TV. When movies are at their full glory, I think it’s pretty mind-blowing. What do you think, Ry?

GOSLING: When I first met with Damien, it wasn’t about this. It was just kind of a general meeting. He has a very infectious love of movies but also of the experience of going to the movies. He talked a lot about wanting to make movies that you couldn’t watch on your iPhone, that you really wanted to see in a theater with an audience.

AP: Your love of movies seems clear, since you’ve previously acknowledged stuffing DVDs down your pants.

STONE: You put DVDs down your pants?!

GOSLING: (laughing) VHS. Look, in these kinds of situations, you’re encouraged to say anything. And it’s celebrated. And then you pay the price for that later.

STONE: Was it to be closer to your favorite movie?

GOSLING: No. It was one story a long time ago where I had to hide an R-rated movie from my parents. It was very intimate. This is the danger of this kind of thing that you do because it haunts us.

AP: Well, it’s a very vivid example of movie love.

GOSLING: I do love movies but I love making them more. I’ve never found something professionally that engages me as much as that. You work with such a large group of people and it’s this constant problem solving process that gets you to this end, whatever that is. Sometimes it works and sometimes it doesn’t. It’s always a crapshoot.

STONE: For me, watching movies is what makes me want to make movies. I’m so inspired by watching movies. The process of making it is engaging but I get so reinvigorated every time I see a great movie. Then I feel like I’m the character in the movie for the rest of the day. Then I realize I can’t play that same character I just watched.

AP: What was the first film that you mimicked that way?

STONE: “The Jerk.” Also “Hocus Pocus.” It was a combination of “The Jerk” and “Hocus Pocus,” so it shows my age and not my age. (Turns to Gosling) What was yours?

GOSLING: “Hocus Pocus.”

*Featured photo: Ryan Gosling, left, and Emma Stone posing for a portrait to promote their film, “La La Land,” at the Shangri-La Hotel in Toronto, Sept. 12, 2016. (Photo by Chris Pizzello/Invision/AP)

(Source: http://www.bigstory.ap.org)

Indian Film

Censorship at film festivals illogical: Indian filmmakers

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Panaji: Indian Panorama films were screened uncensored for the first time at the 47th International film festival of India (Iffi) and filmmakers, whose movies were screened under the category, said that it did not make sense to censor films at a festival where a select audience is present. Hoping that the new rule of not imposing censorship will continue at Iffi, Indian filmmakers said that censorship is undesirable because individuals who censor films do as per their personal interest.

2015 National Award winner M B Padmakumar, whose Malayalam film ‘Roopantharam’ was screened under Indian Panorama this year, said, that the manner in which censorship is carried out can never be desirable as the filmmaker has his own unique vision for the film.

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It was a long-time demand by Indian filmmakers to abolish censorship for films shown under the Indian Panorama section as international films were always being shown at Iffi uncensored.

Gireesh Kumar K, who has won the Golden Bengal Tiger at the Kolkata film festival, said, “Censorship curtails the creative freedom of the filmmaker. The flow of the film is ruined by censorship.”

 He said that there is another manner of censorship taking place in India, where a few distributors of films think they know what the audience wants to watch, which means that the audience are unable to see some of the best films in terms of content

Gireesh Kumar K’s film deals with abandonment of aged parents by their children, while Padmakumar’s film shows struggles with disability. Both are independent filmmakers, like Akshay Singh, whose film Pinky Beauty Parlour, dealing with skin colour bias in India, has travelled to Mumbai and Cannes film festivals.

 Singh said, “The audience is already mature and always was mature that is why masters like Satyajit Ray made such classic films so long ago.”
(Source: http://www.timesofindia.indiatimes.com)
Palm Springs International Film Festival, Toronto International Film Festival, Venice International Film Festival

Natalie Portman to Receive Palm Springs Desert Palm Achievement Award, Actress

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Palm Springs, CA (November 30, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF) will present Natalie Portman with the Desert Palm Achievement Natalie PortmanAward, Actress for her performance in Jackie at its annual Film Awards Gala.  The Film Awards Gala, hosted by Mary Hart, will be held Monday, January 2 at the Palm Springs Convention Center. The Festival runs January 2-16.

“Natalie Portman truly brings to life one of this country’s most treasured public figures in the acclaimed new film Jackie,” said Festival Chairman Harold Matzner. “Portman delivers a transformative and deeply human portrayal of the former First Lady following the assassination of John F. Kennedy, one of the most challenging moments in our nation’s history.  It is our honor to once again present the Desert Palm Achievement Award, Actress to Natalie Portman.”

Portman received the Desert Palm Achievement Award, Actress in 2011 for her performance in Black Swan, where she went on to win the Academy Award® for Best Actress.  Additional past recipients of the award include Cate Blanchett, Julianne Moore, Sandra Bullock, Halle Berry, Marion Cotillard, Anne Hathaway, Charlize Theron and Naomi Watts.

From Fox Searchlight, Jackie is a searing and intimate portrait of one of the most important and tragic moments in American history, seen through the eyes of the iconic First Lady, then Jacqueline Bouvier Kennedy (Natalie Portman).  Jackie places us in her world during the days immediately following her husband’s assassination.  Known for her extraordinary dignity and poise, here we see a psychological portrait of the First Lady as she struggles to maintain her husband’s legacy and the world of “Camelot” that they created and loved so well.  The film is directed by Pablo Larraín and also stars Peter Sarsgaard, Greta Gerwig, Richard E. Grant, Caspar Phillipson, John Carroll Lynch, Beth Grant, and Max Casella, with Billy Crudup and John Hurt.

Jackie is the recipient of the Toronto International Film Festival Platform Prize and Venice Film Festival Golden Osella Best Screenplay Award.  The film received four Film Independent Spirt Awards including Best Picture and Best Actress.  For her role in the film, Portman received the Hollywood Film Award for Best Actress and is nominated for an IFP Gotham Award.

Natalie Portman received her second Academy Award® nomination and first Best Actress win for her performance in Darren Aronofsky’s critically acclaimed film, Black Swan. For her role, Portman also received a Golden Globe, BAFTA Award, Screen Actors Guild Award, and Critics Choice Award.  Her other film credits include The Professional, Beautiful Girls, Anywhere But Here, Cold Mountain, Garden State, Closer, V For Vendetta, Goya’s Ghosts, The Other Boleyn Girl, New York, I Love You, Brothers, No Strings Attached, Hesher, Knight of Cups, Thor, and the three prequels to the Star Wars trilogies. Portman also recently directed and wrote her first feature A Tale of Love and Darkness which debuted at Cannes in 2015. Her upcoming projects include Weightless, Planetarium and Annihilation.

Previously announced honorees attending the 2017 Film Awards Gala are Casey Affleck, Tom Hanks, Nicole Kidman, Ruth Negga and the cast of La La Land, including Emma Stone, Ryan Gosling, and director Damien Chazelle.

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About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, an upscale black-tie event attended by 2,500, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.

For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.

MEDIA CONTACTS:
Steven Wilson / Lauren Peteroy
B|W|R Public Relations
212-901-3920
steven.wilson@bwr-pr.com / lauren.peteroy@bwr-pr.com

David Lee
Palm Springs International Film Society
760-322-2930
david@psfilmfest.org

(Source: http://www.psfilmfest.org)

Venice International Film Festival

Dhruva overseas distribution rights sold for record price

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Posted by Larry Gleeson

By Shekhar Hooli

The overseas theatrical rights of Ram Charan and Rakul Preet Singh’s Dhruva have been sold for a record price. The distribution house plans to release the movie in 200 screens in the United States alone.

The hype surrounding Dhruva had created a lot of demand for its overseas distribution screen-shot-2016-11-30-at-8-46-59-pmrights. Several leading distribution houses were in the race to bag the rights, but JOLLYHITS eventually was the one to clinch the deal. JOLLYHITS has earlier distributed around 20 Kannada movies, including Rangitaranga, in the international markets. It’s now entering Tollywood with Dhruva.

JOLLYHITS has reportedly shelled out Rs 6 crore on the overseas distribution rights of Dhruva. Ram Charan’s previous outings — Govindudu Andarivadele and Bruce Lee: the Fighter — fetched Rs 4 crore and Rs 6 crore, respectively, for the sale of their international theatrical rights. Now, Dhruva has fetched another record price for him.

The distribution house plans to release Dhruva in over 200 screens in North America. Vamsi Kaka, the publicist for the movie, tweeted: “As of now, 195 locations are finalised for #Dhruva in the USA . This also includes 20+ IMAX Screens. #Carmike #Cinemark #Regal #AMC.”

Cherry’s Govindudu Andarivadele was released in 2014 in 150 in the US, and was the biggest release for the actor in the country. His next outing, Bruce Lee: the Fighter, shattered this record by hitting 220 screens in the country. Now, Dhruva is set to become his second biggest release in the US.

JOLLYHITS has made some grand plans for the premiere of Dhruva on November 8. They are said to have arranged 160 screens for the premiere of the movie in the country, and the number is likely to be increased to 175 as the day nears. The team of the film is set to attend the premieres in the country on the next Thursday.

Ram Charan is one of most popular young Telugu actors today. The movies of other popular stars, like Pawan Kalyan, Mahesh Babu, Junior NTR, Prabhas, Allu Arjun and Nani, have surpassed $1 million mark at the US box office. But the mega power star is yet to see his first $1 million grosser film in the country. Considering its hype and the volume of release, Dhruva is expected to surpass this mark in the country.

(Source: http://www.ibtimes.co.in)

Hollywood

Mark Wahlberg and Partriots Day Wrap Up 2016 AFI FEST

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Closing down this year’s American Film Institutes Film Festival (AFI FEST) presented by Audi on Thursday, November 17th, it’s not so difficult to imagine what might have been had it not been for extraordinary efforts of first-responders, law enforcement and investigators alike in Boston, Mass. Patriots Day, the closing night film, brought to the big screen the story of the 2013 Boston Marathon bombings from several different angles and drew an at-capacity crowd at the TCL Chinese Theatre.

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Patriots Day star actor Mark Wahlberg, left, along with the film’s director, Peter Berg, right, posing on the red carpet at the TCL Chinese Theatre before the screening of Patriots Day as the AFI FEST 2016’s Closing Night film. (Photo credit: The Hollywood Reporter)

Afterwards, Director Peter Berg and star actor Mark Wahlberg called several of the film’s real life heroes down on stage for a rousing standing ovation. They included one of the civilian victims of the bombings, Patrick  Downes;  Dun Meng, the young Chinese man who escaped his captors and alerted police to the whereabouts of the bombers; Boston Police Department Commissioner Ed Davis (played in the film by John Goodman); FBI Special Agent In Charge Richard DesLauriers (played by Kevin Bacon); and Watertown Police Sgt. Jeffrey Puglisese (played by J.K. Simmons).

The night before lead actress Annette Bening sat with director Lisa Cholodenko on the TCL Chinese Theater for a warm and heartfelt conversation before the screening of Writer/Director Mike Mills’ dramedy, 20th Century Women, a story of three women and a make-shift extended family in Santa Barbara during the late 1970’s.

I can honestly say I didn’t see a bad film at AFI FEST 2016 presented by Audi.

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Oulaya Amamra as Dounia (pictured above) in Houda Benyamina’s Divines picked up this year’s New Auteurs Special Jury Mention for Acting. (Photo via geekgirlauthority.com)

Divines , from Houda Benyamina, carted off several winner awards, including the Breakthrough Audience Award, New Auteurs Audience Award, and New Auteurs Special Jury Mention for Acting, Oulaya Amamra. Other favorite films reviewed by HollywoodGlee included Fraud, Jackie, Mifune: The Last Samurai, and Citizen Kane.

Interestingly, this year’s festival opened wide the gates for virtual reality (VR) filmmaking. In addition to several presentations and an extended display of short films complete with VR technology, Anthony Blatt, Co-Founder of Wevr, kicked off the State of the Art Technology Showcase Presented by Google Spotlight Stories as the Keynote Speaker with his enthusiastic remarks on the world of virtual reality in present time.

All in all, this 30th edition of the AFI Film Festival – Hollywood program included a whopping 118 films (79 features, 39 shorts) representing 46 countries, including 33 films directed/co-directed by women, 11 documentaries and 12 animated short films.

Until next year, I’ll see you at the movies!

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(Photo courtesy of Larry Gleeson/HollywoodGlee)
Singapore International Film Festival, Venice International Film Festival

Michelle Yeoh graces red carpet event at opening of Singapore International Film Festival

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Posted by Larry Gleeson

By Genevieve Sarah Loh

SINGAPORE: Malaysian superstar Michelle Yeoh was one of the biggest names gracing the red carpet at the opening of this year’s Singapore International Film Festival (SGIFF) on Wednesday (Nov 23). The event flags off the 27th edition of Southeast Asia’s longest-running international film platform.

The recipient of SGIFF’s first-ever Cinema Legend Award last year, Yeoh is the guest-of-honour and will be joined by the likes of homegrown filmmakers Royston Tan and Eric Khoo, as well as local celebrities Felicia Chin, Ian Fang, Suhaimi Yusof, Lim Yu-Beng and Adele Wong.

While Yeoh has reportedly joined the cast of the upcoming Star Trek: Discovery series, she kept mum about details when asked on Wednesday night. “We all grew up (in) the Star Trek generation, so of course I am a big fan,” she said.

Local celebrities Felicia Chin and Ian Fang at the opening of the Singapore International Film Festival. (Photo: Shawn Lim)

Homegrown filmmaker Royston Tan at the opening of this year’s Singapore International Film Festival. (Photo: Shawn Lim)

The region’s film glitterati have also descended on Singapore shores for SGIFF. Indonesian star Nicolas Saputra will be gracing the carpet alongside his Malaysian director Dain Iskandar Said and castmates Nandita Solomon, Iedil Putra, Prisia Nasution, Nadiya Nisaa, Alvin Wong and Chew Kin-wah. Their film Interchange, a fantasy noir supernatural thriller, is the opening film of this year’s SGIFF.

SGIFF 2015 Best Singapore Short Film recipient Gladys Ng. (Photo: Shawn Lim)

Vietnamese-born French filmmaker Tran Anh Hung will also be on the carpet. Renowned for breaking through with his first film The Scent of Green Papaya, his second film Cyclo won him the Golden Lion at the Venice Film Festival in 1995, making him one of the youngest filmmakers to be honoured at the festival at the age of 33.

Several international stars will also be gracing various SGIFF red carpets this year, including Oscar-nominated director Darren Aronofsky and Hollywood star James Marsden who are walking the red carpet on Saturday for the SGIFF benefit dinner.

(Source: http://www.channelnewsasia.com)