Exclusive: MSNBC Films has unveiled its spring and summer slate including a Dave Eggers documentary about book-banning.
The news network is launching four feature and short documentaries in its Sunday night slot between April and July.
This includes a number of films for its The Turning Point series, which kicked off in 2022 with a Trevor Noah-produced series.
Eggers’ To Be Destroyed, which will launch on July 21, follows the A Heartbreaking Work of Staggering Genius author as he embarks on a journey to Rapid City, South Dakota in the aftermath of his book’s controversial ban by the local school board. As Eggers navigates this landscape of censorship and resistance, viewers will learn how these ideas resonate far beyond the borders of Rapid City.
The film is directed by Arthur Bradford and will be the ninth installment of The Turning Point documentary series.
The seventh installment of the series is...
The news network is launching four feature and short documentaries in its Sunday night slot between April and July.
This includes a number of films for its The Turning Point series, which kicked off in 2022 with a Trevor Noah-produced series.
Eggers’ To Be Destroyed, which will launch on July 21, follows the A Heartbreaking Work of Staggering Genius author as he embarks on a journey to Rapid City, South Dakota in the aftermath of his book’s controversial ban by the local school board. As Eggers navigates this landscape of censorship and resistance, viewers will learn how these ideas resonate far beyond the borders of Rapid City.
The film is directed by Arthur Bradford and will be the ninth installment of The Turning Point documentary series.
The seventh installment of the series is...
- 3/21/2024
- by Peter White
- Deadline Film + TV
Subject Matter, a recently-launched nonprofit organization that supports social issue documentary films and other nonprofits that work on its featured topics, announced their inaugural grantees, awarding a total of 120,000 to four feature-length documentaries and four of the films’ coinciding nonprofits. Subject Matter launched in July, spearheaded by former Tribeca Film Institute leaders Amy Hobby, David Earls, and Colleen Hammond.
The inaugural grantees were determined by a selection committee that included Subject Matter board members actor Jeffrey Wright, entrepreneur Lily Band, Picture Motion and Kinema founder Christie Marchese, documentary director and producer Ferne Pearlstein and social justice and public health grant maker Julia Greenberg, along with guest jurors filmmaker Shola Lynch and film programmer José Rodriguez.
“All of the films the jury considered were formidable,” Wright said. “But we were especially moved by the handling of the stories in the four selected projects and felt that they are intimate, powerful and...
The inaugural grantees were determined by a selection committee that included Subject Matter board members actor Jeffrey Wright, entrepreneur Lily Band, Picture Motion and Kinema founder Christie Marchese, documentary director and producer Ferne Pearlstein and social justice and public health grant maker Julia Greenberg, along with guest jurors filmmaker Shola Lynch and film programmer José Rodriguez.
“All of the films the jury considered were formidable,” Wright said. “But we were especially moved by the handling of the stories in the four selected projects and felt that they are intimate, powerful and...
- 11/28/2022
- by EJ Panaligan
- Variety Film + TV
Former Tribeca Film Institute leaders Amy Hobby, David Earls, and Colleen Hammond are partnering on Subject Matter, a new endeavor designed to support and connect social issue documentary films and nonprofits working on the featured topics. Subject Matter, which will also be a non-profit, will work with films that focus on urgent issues that the country is currently facing.
Entrepreneur Lily Band and Golden Globe, Emmy and Tony Award-winning actor Jeffrey Wright will co-chair the organization. Additional board members for Subject Matter include philanthropist Samantha Rudin Earls, film executive Loren Hammonds, Picture Motion and Kinema founder Christie Marchese, documentary director and producer Ferne Pearlstein, and social justice and public health grant maker Julia Greenberg.
“Documentary storytelling is an inspiring tool for reaching large audiences and creating movement on important issues,” Earls said in a statement. “We want to partner with filmmakers to help get their stories in front of audiences,...
Entrepreneur Lily Band and Golden Globe, Emmy and Tony Award-winning actor Jeffrey Wright will co-chair the organization. Additional board members for Subject Matter include philanthropist Samantha Rudin Earls, film executive Loren Hammonds, Picture Motion and Kinema founder Christie Marchese, documentary director and producer Ferne Pearlstein, and social justice and public health grant maker Julia Greenberg.
“Documentary storytelling is an inspiring tool for reaching large audiences and creating movement on important issues,” Earls said in a statement. “We want to partner with filmmakers to help get their stories in front of audiences,...
- 7/14/2022
- by Brent Lang
- Variety Film + TV
The Jewish Film Institute has selected six projects for its inaugural Completion Grants Program, including “The Wild One,” a documentary by French filmmaker Tessa Louise-Salomé about Holocaust survivor, Hollywood filmmaker and Method Acting pioneer Jack Garfein, who worked with George Peppard, Steve McQueen and James Dean.
The funding program supports both emerging and established filmmakers developing “original, contemporary stories that promote thoughtful consideration of Jewish history, life, culture, and identity,” according to a statement.
The programs seeks to fill the gap left when the National Foundation for Jewish Culture closed in 2015. This gap, along with “a growing need for work that builds empathy and understanding within and beyond Jewish culture,” has helped shape the fund and how it is administered. The program, which was formally announced at the 2020 Sundance Film Festival in January, aims to “expand opportunities for filmmakers making Jewish content and help inspire and secure the future of Jewish storytelling.
The funding program supports both emerging and established filmmakers developing “original, contemporary stories that promote thoughtful consideration of Jewish history, life, culture, and identity,” according to a statement.
The programs seeks to fill the gap left when the National Foundation for Jewish Culture closed in 2015. This gap, along with “a growing need for work that builds empathy and understanding within and beyond Jewish culture,” has helped shape the fund and how it is administered. The program, which was formally announced at the 2020 Sundance Film Festival in January, aims to “expand opportunities for filmmakers making Jewish content and help inspire and secure the future of Jewish storytelling.
- 7/13/2020
- by Leo Barraclough
- Variety Film + TV
Jairus McLeary in the Soho House screening room on The Work: "It's very masculine. That's why Amy Foote, our editor, and Alice Henty, the producer, they were the first women to see this footage." Photo: Anne-Katrin Titze
Rebecca Miller's Arthur Miller: Writer; Doug Nichol's California Typewriter; Andrew Rossi on Okwui Okpokwasili's Bronx Gothic; Elvira Lind's Bobbi Jene; Michael Almereyda's Escapes on Hampton Fancher; Brett Morgen's Jane on Jane Goodall; Ceyda Torun's KEDi; Sabine Krayenbühl and Zeva Oelbaum's Letters From Baghdad with Tilda Swinton voicing Getrude Bell; Griffin Dunne's Joan Didion: The Center Will Not Hold; Agnès Varda and Jr's Faces Places; Neasa Ní Chianáin and David Rane's School Life; Ferne Pearlstein's The Last Laugh; Lara Stolman's Swim Team; Kirk Simon's The Pulitzer At 100, and Josh Koury and Myles Kane's Voyeur on Gay Talese...
Rebecca Miller's Arthur Miller: Writer; Doug Nichol's California Typewriter; Andrew Rossi on Okwui Okpokwasili's Bronx Gothic; Elvira Lind's Bobbi Jene; Michael Almereyda's Escapes on Hampton Fancher; Brett Morgen's Jane on Jane Goodall; Ceyda Torun's KEDi; Sabine Krayenbühl and Zeva Oelbaum's Letters From Baghdad with Tilda Swinton voicing Getrude Bell; Griffin Dunne's Joan Didion: The Center Will Not Hold; Agnès Varda and Jr's Faces Places; Neasa Ní Chianáin and David Rane's School Life; Ferne Pearlstein's The Last Laugh; Lara Stolman's Swim Team; Kirk Simon's The Pulitzer At 100, and Josh Koury and Myles Kane's Voyeur on Gay Talese...
- 11/17/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Jessica Oreck with Sloan Foundation's Doron Weber Photo: Anne-Katrin Titze
The Tribeca Film Institute and Alfred P Sloan Foundation Works-In-Progress Reading had Paul Schneider directing readings by Victor Slezak, Dascha Polanco, Tom Lipinski, Britne Olford and Marshall Factora of Emily Lobsenz's Invisible Islands; Eric Talbach, Olford and Lipinski of Thor Klein's Adventures of a Mathematician, and a clip from Jessica Oreck's One Man Dies A Million Times.
Jessica, the director of The Vanquishing Of The Witch Baba Yaga and cameraperson for David Byrne's Contemporary Color, directed by Bill Ross IV and Turner Ross, spoke with me at the cocktail reception. Amy Hobby, producer of Rachel Israel's Keep the Change, Ferne Pearlstein's The Last Laugh, and Treva Wurmfeld's Sam Shepard doc, Shepard & Dark, is the Executive Director of the Tribeca Film Institute.
Jessica Oreck's One Man Dies A Million Times at NeueHouse Photo: Anne-Katrin...
The Tribeca Film Institute and Alfred P Sloan Foundation Works-In-Progress Reading had Paul Schneider directing readings by Victor Slezak, Dascha Polanco, Tom Lipinski, Britne Olford and Marshall Factora of Emily Lobsenz's Invisible Islands; Eric Talbach, Olford and Lipinski of Thor Klein's Adventures of a Mathematician, and a clip from Jessica Oreck's One Man Dies A Million Times.
Jessica, the director of The Vanquishing Of The Witch Baba Yaga and cameraperson for David Byrne's Contemporary Color, directed by Bill Ross IV and Turner Ross, spoke with me at the cocktail reception. Amy Hobby, producer of Rachel Israel's Keep the Change, Ferne Pearlstein's The Last Laugh, and Treva Wurmfeld's Sam Shepard doc, Shepard & Dark, is the Executive Director of the Tribeca Film Institute.
Jessica Oreck's One Man Dies A Million Times at NeueHouse Photo: Anne-Katrin...
- 4/24/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The Last Laugh Reviewed by: Harvey Karten, Shockya Grade: B Director: Ferne Pearlstein Written by: Ferne Pearlstein, Robert Edwards, inspired by Kent Kirshenbaum’s “The Last Laugh: Humor and the Holocaust.” Cast: Mel Brooks, Carl Reiner, Renee Firestone, Sarah Silverman, Rob Reiner, Larry Charles, Abraham Foxman Screened at: Critics’ link, NYC, 3/13/17 Opens: April 12, 2017 […]
The post The Last Laugh Movie Review appeared first on Shockya.com.
The post The Last Laugh Movie Review appeared first on Shockya.com.
- 3/14/2017
- by Harvey Karten
- ShockYa
Ferne Pearlstein’s “The Last Laugh” is a rather safe and genteel documentary about the limits of humor (especially as they pertain to the Holocaust), but it opens with a subtly provocative sequence of events that’s hard to shake. Rob Reiner, but one of the film’s many different talking heads, tells a very benign joke about two Jews who tried to kill Hitler. Gilbert Gottfried pops up to get in on the action. Then we cut to Mel Brooks — perhaps the single most significant figure in permitting modern Jews to make light of their darkness — and he performs some light Hitler shtick, culminating in a shoutout to “The guy who made me money.”
Finally, and seamlessly, the film cuts to survivor and educator Renee Firestone, introducing the nonagenarian just as she launches into a bit about Dr. Josef Mengele inspecting some of the young women on whom he was hoping to experiment.
Finally, and seamlessly, the film cuts to survivor and educator Renee Firestone, introducing the nonagenarian just as she launches into a bit about Dr. Josef Mengele inspecting some of the young women on whom he was hoping to experiment.
- 3/3/2017
- by David Ehrlich
- Indiewire
Originally published during the Tribeca Film Festival, where the doc on humor and the Holocaust had its premiere, here is Paula Bernstein’s interview with director Ferne Pearlstein about The Last Laugh. The film is opening in theaters today and plays in New York at the Lincoln Plaza Cinemas. There has been no shortage of documentaries about the Holocaust but, until now, none of them have featured Sarah Silverman, Chris Rock and Louis C.K. In Ferne Pearlstein’s The Last Laugh, which premieres today at the Tribeca Film Festival, she delves into the history of humor about the Holocaust, exploring the ethical questions […]...
- 3/3/2017
- by Paula Bernstein
- Filmmaker Magazine - Blog
George Carlin had a famously controversial stand-up routine, in which he attempted to prove rape can be funny. Taken at face value, and especially if you aren’t familiar with Carlin, this sounds like it could be a shock-value gag. In delivery, it is not, and by the end of the act – which is a thinly veiled rant against political correctness — his point resonates.
But are some topics truly off limits? This is the compelling question of Ferne Pearlstein’s The Last Laugh, a documentary that questions whether the Holocaust is something that can ever be a source of humor.
Pearlstein interviews many noteworthy figures from the comedy world — Mel Brooks, Gilbert Gottfried, Sarah Silverman, David Cross, Rob Reiner and Carl Reiner, to name but a few – and what’s surprising is the disparity in their opinions on the subject. For example, one might be surprised to hear Brooks opine...
But are some topics truly off limits? This is the compelling question of Ferne Pearlstein’s The Last Laugh, a documentary that questions whether the Holocaust is something that can ever be a source of humor.
Pearlstein interviews many noteworthy figures from the comedy world — Mel Brooks, Gilbert Gottfried, Sarah Silverman, David Cross, Rob Reiner and Carl Reiner, to name but a few – and what’s surprising is the disparity in their opinions on the subject. For example, one might be surprised to hear Brooks opine...
- 3/3/2017
- by Jordan Raup
- The Film Stage
MaryAnn’s quick take… Analyzing jokes can ruin humor, but not here. This is a provocative, hilarious, and important discussion of comedy taboos, who gets to transgress them, and why. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
If there’s one thing we should never joke about, it’s the Holocaust, surely? Mel Brooks — the guy who wrote “Springtime for Hitler” — would beg to differ, of course. As would Carl Reiner, Rob Reiner, Sarah Silverman, Harry Shearer, Gilbert Gottfried, Judy Gold, Larry Charles, and a whole bunch of other professionally very funny people. Documentarian Ferne Pearlstein gets them all on camera in The Last Laugh to talk about taboos in comedy mostly as concerns this particular difficult topic, though it clearly has a much wider application.
Analyzing comedy can tend to ruin the humor, but that...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
If there’s one thing we should never joke about, it’s the Holocaust, surely? Mel Brooks — the guy who wrote “Springtime for Hitler” — would beg to differ, of course. As would Carl Reiner, Rob Reiner, Sarah Silverman, Harry Shearer, Gilbert Gottfried, Judy Gold, Larry Charles, and a whole bunch of other professionally very funny people. Documentarian Ferne Pearlstein gets them all on camera in The Last Laugh to talk about taboos in comedy mostly as concerns this particular difficult topic, though it clearly has a much wider application.
Analyzing comedy can tend to ruin the humor, but that...
- 3/3/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
The Holocaust might seem like a topic that’s completely off-limits for comedy, but a new documentary strives to challenge that assumption. “The Last Laugh” examines whether it’s acceptable to use humor in connection with a tragedy of that scale, and the implications for other taboo topics in a society that prizes free speech. Shot on 16mm, it weaves together a portrait of Auschwitz survivor Renee Firestone alongside interviews with comedians like Mel Brooks, Sarah Silverman and Gilbert Gottfried. It also features archival material ranging from “Curb Your Enthusiasm” to Jerry Lewis’ never-released film Holocaust comedy “The Day the Clown Cried,” as well as rare footage of cabarets inside the concentration camps themselves. Watch an exclusive trailer from the film below and check out the poster as well.
Read More: Tribeca 2016 Women Directors: Meet Ferne Pearlstein – ‘The Last Laugh’
The film is directed by Ferne Pearlstein. She previously directed “Sumo East and West,...
Read More: Tribeca 2016 Women Directors: Meet Ferne Pearlstein – ‘The Last Laugh’
The film is directed by Ferne Pearlstein. She previously directed “Sumo East and West,...
- 1/13/2017
- by Vikram Murthi
- Indiewire
The 5th Annual Key West Film Festival has announced its official 2016 lineup, including the opening night film, “20th Century Women,” directed by Mike Mills and starring Annette Bening, Elle Fanning, Greta Gerwig and Billy Crudup. As part of the festival’s signature Critics Focus program, MTV’s Chief Film Critic Amy Nicholson will present and lead a conversation around the film, alongside David Fear, Senior Film/TV Editor of Rolling Stone.
Director of Programming Michael Tuckman said of Nicholson’s pick, “I could not be more thrilled with Amy Nicholson’s choice of ’20th Century Women’ to kick off our 5th Anniversary edition of festival. Annette Bening’s performance is Oscar-deserving and the rich depth of the balance of the leading cast is Altman-esque in its quality. Amy’s discussion after the film will bring a cunning critic’s eye to this fabulous film for audiences.”
Read More: ’20th Century...
Director of Programming Michael Tuckman said of Nicholson’s pick, “I could not be more thrilled with Amy Nicholson’s choice of ’20th Century Women’ to kick off our 5th Anniversary edition of festival. Annette Bening’s performance is Oscar-deserving and the rich depth of the balance of the leading cast is Altman-esque in its quality. Amy’s discussion after the film will bring a cunning critic’s eye to this fabulous film for audiences.”
Read More: ’20th Century...
- 10/19/2016
- by Kate Erbland
- Indiewire
Guests attending this year to include Bernardo Bertolucci, Don DeLillo, Ralph Fiennes.Scroll down for full line-up
The Rome Film Festival (Oct 13-23) has revealed its line-up for 2016.
The festival will present 44 films and documentaries in its official programme, selected from 26 countries.
Rome will open with Barry Jenkins’ Moonlight, which premiered in Toronto.
Further titles in the Official Selection include Gavin O’Connor’s The Accountant [pictured], starring Ben Affleck and Anna Kendrick, Nate Parker’s The Birth Of A Nation, Kenneth Lonergan’s Manchester By The Sea, and Oliver Stone’s Snowden.
The festival’s previously announced Alice In The City line-up will include John Carney’s Sing Street and Matt Ross’s Captain Fantastic.
The Everybody’s Talking About It strand, which highlights films that has generated exceptional buzz following their international debuts, will showcase Yeon Sang-ho’s Train To Busan, Michael Grandage’s Genius, David Mackenzie’s Hell Or High Water, and [link=nm...
The Rome Film Festival (Oct 13-23) has revealed its line-up for 2016.
The festival will present 44 films and documentaries in its official programme, selected from 26 countries.
Rome will open with Barry Jenkins’ Moonlight, which premiered in Toronto.
Further titles in the Official Selection include Gavin O’Connor’s The Accountant [pictured], starring Ben Affleck and Anna Kendrick, Nate Parker’s The Birth Of A Nation, Kenneth Lonergan’s Manchester By The Sea, and Oliver Stone’s Snowden.
The festival’s previously announced Alice In The City line-up will include John Carney’s Sing Street and Matt Ross’s Captain Fantastic.
The Everybody’s Talking About It strand, which highlights films that has generated exceptional buzz following their international debuts, will showcase Yeon Sang-ho’s Train To Busan, Michael Grandage’s Genius, David Mackenzie’s Hell Or High Water, and [link=nm...
- 10/4/2016
- ScreenDaily
Ferne Pearlstein: "Renee [Firestone] and Steven Spielberg became very close." Photo: Anne-Katrin Titze
A highlight of the Tribeca Film Festival, Ferne Pearlstein's stunning The Last Laugh has Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Susie Essman, Lisa Lampanelli and Hanala Sagal reflect on questions of free speech, taboos and time limits. Holocaust survivor Renee Firestone is the film's responsive centre.
Jerry Lewis's The Day The Clown Cried, James Moll's The Last Days and Paul Provenza's The Aristocrats open up the discussion and Brooks's comment on Roberto Benigni's Life Is Beautiful leads me to Son Of Saul star Géza Röhrig's response to Quentin Tarantino's Inglourious Basterds in my conversation with Ferne and her co-writer/co-producer Robert Edwards.
Mel Brooks who never included a swastika in his material until The Producers, makes an important distinction between jokes about Nazis and jokes about the Holocaust....
A highlight of the Tribeca Film Festival, Ferne Pearlstein's stunning The Last Laugh has Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Susie Essman, Lisa Lampanelli and Hanala Sagal reflect on questions of free speech, taboos and time limits. Holocaust survivor Renee Firestone is the film's responsive centre.
Jerry Lewis's The Day The Clown Cried, James Moll's The Last Days and Paul Provenza's The Aristocrats open up the discussion and Brooks's comment on Roberto Benigni's Life Is Beautiful leads me to Son Of Saul star Géza Röhrig's response to Quentin Tarantino's Inglourious Basterds in my conversation with Ferne and her co-writer/co-producer Robert Edwards.
Mel Brooks who never included a swastika in his material until The Producers, makes an important distinction between jokes about Nazis and jokes about the Holocaust....
- 6/14/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Documentary asks survivors as well as comedians including Mel Brooks and Sarah Silverman to consider whether it’s right to make jokes about death camps
Did you hear the one about the murder of 6 million Jews? In the documentary The Last Laugh, writer and director Ferne Pearlstein canvasses comedians ranging from Mel Brooks to Sarah Silverman, Holocaust survivors and anti-racism activists to ask whether the Nazi death camps are an appropriate subject for humour.
Naturally, this gives rise to an incredible wealth of comic material ranging from Seinfeld’s Soup Nazi (which Roz Weinman, who was in charge of standards and practices for NBC at the time, regrets approving as she believes the way it passed into pop culture ended up trivialising the Holocaust) to Joan Rivers’s 2013 shock-and-awe one-liner about Heidi Klum: “The last time a German looked this hot was when they were pushing Jews into ovens.
Did you hear the one about the murder of 6 million Jews? In the documentary The Last Laugh, writer and director Ferne Pearlstein canvasses comedians ranging from Mel Brooks to Sarah Silverman, Holocaust survivors and anti-racism activists to ask whether the Nazi death camps are an appropriate subject for humour.
Naturally, this gives rise to an incredible wealth of comic material ranging from Seinfeld’s Soup Nazi (which Roz Weinman, who was in charge of standards and practices for NBC at the time, regrets approving as she believes the way it passed into pop culture ended up trivialising the Holocaust) to Joan Rivers’s 2013 shock-and-awe one-liner about Heidi Klum: “The last time a German looked this hot was when they were pushing Jews into ovens.
- 4/24/2016
- by Alex Needham
- The Guardian - Film News
Documentary asks survivors as well as comedians including Mel Brooks and Sarah Silverman to consider whether it’s right to make jokes about death camps
Did you hear the one about the murder of 6 million Jews? In the documentary The Last Laugh, writer and director Ferne Pearlstein canvasses comedians ranging from Mel Brooks to Sarah Silverman, Holocaust survivors and anti-racism activists to ask whether the Nazi death camps are an appropriate subject for humour.
Naturally, this gives rise to an incredible wealth of comic material ranging from Seinfeld’s Soup Nazi (which Roz Weinman, who was in charge of standards and practices for NBC at the time, regrets approving as she believes the way it passed into pop culture ended up trivialising the Holocaust) to Joan Rivers’s 2013 shock-and-awe one-liner about Heidi Klum: “The last time a German looked this hot was when they were pushing Jews into ovens.
Did you hear the one about the murder of 6 million Jews? In the documentary The Last Laugh, writer and director Ferne Pearlstein canvasses comedians ranging from Mel Brooks to Sarah Silverman, Holocaust survivors and anti-racism activists to ask whether the Nazi death camps are an appropriate subject for humour.
Naturally, this gives rise to an incredible wealth of comic material ranging from Seinfeld’s Soup Nazi (which Roz Weinman, who was in charge of standards and practices for NBC at the time, regrets approving as she believes the way it passed into pop culture ended up trivialising the Holocaust) to Joan Rivers’s 2013 shock-and-awe one-liner about Heidi Klum: “The last time a German looked this hot was when they were pushing Jews into ovens.
- 4/24/2016
- by Alex Needham
- The Guardian - Film News
Benedikt Erlingsson, Gréta Olafsdóttir and Margrét Jónasdóttir in the arms of Frédéric Boyer Photo: Anne-Katrin Titze
Tribeca Film Festival Artistic Director Frédéric Boyer met me for a conversation at Benedikt Erlingsson's The Show Of Shows at MoMA PS1's Vw Dome, where Michelangelo Frammartino's Alberi, Tsai Ming-liang's Journey To The West and Celia Rowlson-Hall's Ma premiered. Parents came to mind as a theme with Halkawt Mustafa's El Clásico, Lorene Scafaria's The Meddler, Robert Schwartzman's Dreamland, Jason Bateman's The Family Fang, Kadri Kõusaar's Mother, Bart Freundlich's Wolves and Christian Tafdrup's Parents (Forældre). Andrew Rossi's The First Monday In May, John Dower's My Scientology Movie, Thierry Demaizière and Alban Teurlai's Reset, Benjamin Ree's Magnus, Ferne Pearlstein's The Last Laugh and Dylan Harvey and Ian Roderick Gray's The Banksy Job are some of the original documentaries of note.
Tribeca Film Festival Artistic Director Frédéric Boyer met me for a conversation at Benedikt Erlingsson's The Show Of Shows at MoMA PS1's Vw Dome, where Michelangelo Frammartino's Alberi, Tsai Ming-liang's Journey To The West and Celia Rowlson-Hall's Ma premiered. Parents came to mind as a theme with Halkawt Mustafa's El Clásico, Lorene Scafaria's The Meddler, Robert Schwartzman's Dreamland, Jason Bateman's The Family Fang, Kadri Kõusaar's Mother, Bart Freundlich's Wolves and Christian Tafdrup's Parents (Forældre). Andrew Rossi's The First Monday In May, John Dower's My Scientology Movie, Thierry Demaizière and Alban Teurlai's Reset, Benjamin Ree's Magnus, Ferne Pearlstein's The Last Laugh and Dylan Harvey and Ian Roderick Gray's The Banksy Job are some of the original documentaries of note.
- 4/20/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
There’s nothing funny about the Holocaust, which is probably why some comedians think it’s about time to start making jokes about it. The Last Laugh, a documentary by director and cinematographer Ferne Pearlstein, reveals, dissects, and discusses the subject of taboo humor in general and the Holocaust in particular. Pearlstein gathers together interviews with numerous comedians, writers, producers, and activists, including several Holocaust survivors, to present their perspective on what can be joked about and what cannot and where, if anywhere, comedy must draw the line.
Auschwitz survivor Renee Firestone represents the major argument for laughing in the face of overwhelming evil, as she recalls her experience in the camps and afterwards. She discusses the use of humor within the camps, up to and including cabaret productions by performers that tacitly made fun of the Nazis and the SS guards. While Firestone is the most personally profiled survivor,...
Auschwitz survivor Renee Firestone represents the major argument for laughing in the face of overwhelming evil, as she recalls her experience in the camps and afterwards. She discusses the use of humor within the camps, up to and including cabaret productions by performers that tacitly made fun of the Nazis and the SS guards. While Firestone is the most personally profiled survivor,...
- 4/19/2016
- by Lauren Humphries-Brooks
- We Got This Covered
David Byrne conceives Contemporary Color by Bill Ross IV and Turner Ross Photo: Anne-Katrin Titze
Of Horses And Men director Benedikt Erlingsson's latest The Show Of Shows (Storyville); Ferne Pearlstein's The Last Laugh with Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Susie Essman, Lisa Lampanelli and Hanala Sagal (co-writer of Liza Johnson's Elvis & Nixon); Nicole Kidman, Christopher Walken, Maryann Plunkett, Kathryn Hahn and Marin Ireland in Jason Bateman's The Family Fang, screenplay by David Lindsay-Abaire; Contemporary Color, with camerawork by Jessica Oreck, Sean Price Williams, Michael Palmieri, Robert Greene, Wyatt Gerfield, Amanda Rose Wilder, under Dp Jarred Alterman and with Beastie Boys' Adam Horovitz, Devonté Hynes, Nelly Furtado, Nico Muhly, Ira Glass, St. Vincent, Money Mark, Holly Laessig and Jess Wolfe, providing some of the music to David Byrne...
Of Horses And Men director Benedikt Erlingsson's latest The Show Of Shows (Storyville); Ferne Pearlstein's The Last Laugh with Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Susie Essman, Lisa Lampanelli and Hanala Sagal (co-writer of Liza Johnson's Elvis & Nixon); Nicole Kidman, Christopher Walken, Maryann Plunkett, Kathryn Hahn and Marin Ireland in Jason Bateman's The Family Fang, screenplay by David Lindsay-Abaire; Contemporary Color, with camerawork by Jessica Oreck, Sean Price Williams, Michael Palmieri, Robert Greene, Wyatt Gerfield, Amanda Rose Wilder, under Dp Jarred Alterman and with Beastie Boys' Adam Horovitz, Devonté Hynes, Nelly Furtado, Nico Muhly, Ira Glass, St. Vincent, Money Mark, Holly Laessig and Jess Wolfe, providing some of the music to David Byrne...
- 4/11/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Hot Docs has announced 14 documentary features that will screen in this year¹s Special Presentations program, joining 15 selections previously announced. Special Presentations features a high-profile collection of world and international premieres, award winners from the recent international festival circuit and works by master filmmakers or featuring some star subjects.
Notable subjects featured as part of the Special Presentations program include activist Bobby Sands ("Bobby Sands: 66 Days"), musicians David Byrne, Nelly Furtado and St. Vincent ("Contemporary Color"), filmmaker Brian de Palma ("De Palma"), former NFL defensive back Steve Gleason ("Gleason"), Canadian rapper Shad and hip-hop stars Kool Herc, Afrika Bambaataa and Grandmaster Flash ("Hip-Hop Evolution"), Afghan rapper and activist Sonita Alizadeh ("Sonita"), artist Frida Kahlo ( "The Legacy Of Frida Kahlo"), and comedians Mel Brooks, Sarah Silverman and Carl Reiner ("The Last Laugh").
Award winners from the recent international festival circuit include "Life, Animated" (Directing Award: U.S. Documentary, Sundance 2016), "Trapped" (U.S. Documentary Special Jury Award for Social Impact Filmmaking, Sundance 2016), and "Sonita" (World Cinema Grand Jury Prize: Documentary and Audience Award: World Cinema Documentary, Sundance 2016).
Special Presentations will screen as part of the 2016 Hot Docs Canadian International Documentary Festival, running April 28 to May 8. Ticket packages and passes as well as single tickets are now on sale online and at the CraveTV Box Office at Hot Docs House, located at 610 Markham Street.
Special Presentation titles are below:
"The Age of Consequences"
D: Jared P. Scott | USA | 2016 | 78 min | World Premiere
Sounding an alarm over the critical and disturbing effects of societal inaction, this revealing film highlights the irreversible impacts of climate change‹resource scarcity, mass migration and conflict‹through the lens of global stability and national security.
"American Movie"
D: Chris Smith | USA | 1999 | 107 min | Cinema Eye Legacy Screening
In this beloved cult classic, an aspiring filmmaker struggles to complete a hilariously lo-fi horror film, only to be derailed by personal demons and the staggering ineptitude of his production team.
"Bobby Sands: 66 Days"
D: Brendan Byrne | Ireland, UK | 2016 | 105 min | World Premiere
This riveting account of a turning point in the Troubles in Northern Ireland is taken straight from the diary of Bobby Sands, who led protests of imprisoned Irish Republicans and a hunger strike with momentous consequences.
"Contemporary Color"
D: Bill Ross IV, Turner Ross | USA | 2016 | 96 min | International Premiere
An extraordinary lineup of top music stars including event mastermind David Byrne of The Talking Heads, Nelly Furtado, St. Vincent and more perform live with 10 ³colour guard² teams‹perfectly synchronized students in pep-rally choreography‹in this one-of-a-kind, kaleidoscopic event.
"De Palma"
D: Noah Baumbach, Jake Paltrow | USA | 2015 | 107 min | Canadian Premiere
From Carrie to Mission: Impossible to Scarface and beyond, Brian de Palma has created some of cinema¹s most iconic work. In this career-spanning, funny and candid conversation, he reveals his unique perspective on life, work and the past 50 years in film.
"Gleason"
D: Clay Tweel | USA | 2016 | 110 min | International Premiere
At age 34, former NFL defensive back and New Orleans hero Steve Gleason was diagnosed with Als. With limited time left to live, he purposefully records his spirited and inspiring life‹a heartfelt time capsule for his newborn son.
"Hip-Hop Evolution"
D: Darby Wheeler | Co-d: Scot McFadyen, Sam Dunn | Canada | 2016 | 90 min | World Premiere
Acclaimed Canadian rapper Shad travels to the Bronx and Harlem to talk with hip-hop¹s originators and biggest stars‹Kool Herc, Afrika Bambaataa and Grandmaster Flash among others‹tracing its evolution from underground to global phenomenon.
"The Last Laugh"
D: Ferne Pearlstein | USA | 2016 | 85 min | International Premiere
Mel Brooks, Sarah Silverman, Carl Reiner, a 90-year-old Auschwitz survivor and others uproariously debate and test the limits of comedy¹s ultimate taboo: how to joke about the Holocaust, or if it¹s even ethical to try.
"The Legacy of Frida Kahlo"
D: Tadasuke Kotani | Japan | 2015 | 89 min | Canadian Premiere
A renowned Japanese photographer inventories iconic Mexican artist Frida Kahlo¹s wardrobe and personal belongings, recently discovered 58 years after her death, lending deserved importance to fashion and ³women¹s work,² while resurrecting the dead through clothing and talismans.
"Life,Animated"
D: Roger Ross Williams | USA | 2015 | 91 min | International Premiere
Disney cartoons play a key role in helping a young autistic boy communicate and understand the world around him in this moving testament to coming-of-age through fantasy, from Academy Awardwinning director Roger Ross Williams.
"Sonita"
D: Rokhsareh Ghaem Maghami | Iran, Germany, Switzerland | 2015 | 90 min | Canadian Premiere
After her family attempts to sell her into marriage, a young Afghan refugee in Iran channels her frustrations and seizes her destiny through music. Grabbing the mic, she spits fiery rhymes in the face of oppressive traditions.
"Sour Grapes"
D: Jerry Rothwell | USA, France | 2016 | 96 min | World Premiere
Controversy erupts when an unassuming young man floods the American market with fake vintages valued in the millions, bamboozling wine snobs and the super-wealthy alike, in this suspenseful tale of excess on the eve of the 2008 crash.
"Trapped"
D: Dawn Porter | USA | 2016 | 80 min | International Premiere
American women¹s right to abortion is no longer clear, as 288 dubious laws slyly crafted by the right have decimated access. While a watershed Supreme Court battle looms, witness the human stakes of the right to choose.
"Under the Gun"
D: Stephanie Soechtig | USA | 2016 | 110 min | International Premiere
With razor-sharp arguments and insight, Stephanie Soechtig and Katie Couric (the team behind Fed Up) craft a gripping indictment of American gun culture, meeting communities shattered by shootings and exposing the politics that allow the epidemic of violence to persist.
Notable subjects featured as part of the Special Presentations program include activist Bobby Sands ("Bobby Sands: 66 Days"), musicians David Byrne, Nelly Furtado and St. Vincent ("Contemporary Color"), filmmaker Brian de Palma ("De Palma"), former NFL defensive back Steve Gleason ("Gleason"), Canadian rapper Shad and hip-hop stars Kool Herc, Afrika Bambaataa and Grandmaster Flash ("Hip-Hop Evolution"), Afghan rapper and activist Sonita Alizadeh ("Sonita"), artist Frida Kahlo ( "The Legacy Of Frida Kahlo"), and comedians Mel Brooks, Sarah Silverman and Carl Reiner ("The Last Laugh").
Award winners from the recent international festival circuit include "Life, Animated" (Directing Award: U.S. Documentary, Sundance 2016), "Trapped" (U.S. Documentary Special Jury Award for Social Impact Filmmaking, Sundance 2016), and "Sonita" (World Cinema Grand Jury Prize: Documentary and Audience Award: World Cinema Documentary, Sundance 2016).
Special Presentations will screen as part of the 2016 Hot Docs Canadian International Documentary Festival, running April 28 to May 8. Ticket packages and passes as well as single tickets are now on sale online and at the CraveTV Box Office at Hot Docs House, located at 610 Markham Street.
Special Presentation titles are below:
"The Age of Consequences"
D: Jared P. Scott | USA | 2016 | 78 min | World Premiere
Sounding an alarm over the critical and disturbing effects of societal inaction, this revealing film highlights the irreversible impacts of climate change‹resource scarcity, mass migration and conflict‹through the lens of global stability and national security.
"American Movie"
D: Chris Smith | USA | 1999 | 107 min | Cinema Eye Legacy Screening
In this beloved cult classic, an aspiring filmmaker struggles to complete a hilariously lo-fi horror film, only to be derailed by personal demons and the staggering ineptitude of his production team.
"Bobby Sands: 66 Days"
D: Brendan Byrne | Ireland, UK | 2016 | 105 min | World Premiere
This riveting account of a turning point in the Troubles in Northern Ireland is taken straight from the diary of Bobby Sands, who led protests of imprisoned Irish Republicans and a hunger strike with momentous consequences.
"Contemporary Color"
D: Bill Ross IV, Turner Ross | USA | 2016 | 96 min | International Premiere
An extraordinary lineup of top music stars including event mastermind David Byrne of The Talking Heads, Nelly Furtado, St. Vincent and more perform live with 10 ³colour guard² teams‹perfectly synchronized students in pep-rally choreography‹in this one-of-a-kind, kaleidoscopic event.
"De Palma"
D: Noah Baumbach, Jake Paltrow | USA | 2015 | 107 min | Canadian Premiere
From Carrie to Mission: Impossible to Scarface and beyond, Brian de Palma has created some of cinema¹s most iconic work. In this career-spanning, funny and candid conversation, he reveals his unique perspective on life, work and the past 50 years in film.
"Gleason"
D: Clay Tweel | USA | 2016 | 110 min | International Premiere
At age 34, former NFL defensive back and New Orleans hero Steve Gleason was diagnosed with Als. With limited time left to live, he purposefully records his spirited and inspiring life‹a heartfelt time capsule for his newborn son.
"Hip-Hop Evolution"
D: Darby Wheeler | Co-d: Scot McFadyen, Sam Dunn | Canada | 2016 | 90 min | World Premiere
Acclaimed Canadian rapper Shad travels to the Bronx and Harlem to talk with hip-hop¹s originators and biggest stars‹Kool Herc, Afrika Bambaataa and Grandmaster Flash among others‹tracing its evolution from underground to global phenomenon.
"The Last Laugh"
D: Ferne Pearlstein | USA | 2016 | 85 min | International Premiere
Mel Brooks, Sarah Silverman, Carl Reiner, a 90-year-old Auschwitz survivor and others uproariously debate and test the limits of comedy¹s ultimate taboo: how to joke about the Holocaust, or if it¹s even ethical to try.
"The Legacy of Frida Kahlo"
D: Tadasuke Kotani | Japan | 2015 | 89 min | Canadian Premiere
A renowned Japanese photographer inventories iconic Mexican artist Frida Kahlo¹s wardrobe and personal belongings, recently discovered 58 years after her death, lending deserved importance to fashion and ³women¹s work,² while resurrecting the dead through clothing and talismans.
"Life,Animated"
D: Roger Ross Williams | USA | 2015 | 91 min | International Premiere
Disney cartoons play a key role in helping a young autistic boy communicate and understand the world around him in this moving testament to coming-of-age through fantasy, from Academy Awardwinning director Roger Ross Williams.
"Sonita"
D: Rokhsareh Ghaem Maghami | Iran, Germany, Switzerland | 2015 | 90 min | Canadian Premiere
After her family attempts to sell her into marriage, a young Afghan refugee in Iran channels her frustrations and seizes her destiny through music. Grabbing the mic, she spits fiery rhymes in the face of oppressive traditions.
"Sour Grapes"
D: Jerry Rothwell | USA, France | 2016 | 96 min | World Premiere
Controversy erupts when an unassuming young man floods the American market with fake vintages valued in the millions, bamboozling wine snobs and the super-wealthy alike, in this suspenseful tale of excess on the eve of the 2008 crash.
"Trapped"
D: Dawn Porter | USA | 2016 | 80 min | International Premiere
American women¹s right to abortion is no longer clear, as 288 dubious laws slyly crafted by the right have decimated access. While a watershed Supreme Court battle looms, witness the human stakes of the right to choose.
"Under the Gun"
D: Stephanie Soechtig | USA | 2016 | 110 min | International Premiere
With razor-sharp arguments and insight, Stephanie Soechtig and Katie Couric (the team behind Fed Up) craft a gripping indictment of American gun culture, meeting communities shattered by shootings and exposing the politics that allow the epidemic of violence to persist.
- 4/6/2016
- by Sydney Levine
- Sydney's Buzz
Michael Shannon stars with Kevin Spacey in Liza Johnson's Elvis & Nixon Photo: Anne-Katrin Titze
Thierry Demaizière and Alban Teurlai's look at Benjamin Millepied (Darren Aronofsky's Black Swan choreographer) in Reset; Everybody Knows...Elizabeth Murray by Kristi Zea (two-time Oscar nominee for Sam Mendes' Revolutionary Road and James L. Brooks' As Good As It Gets), with journals performed by Meryl Streep; Christian Tafdrup's Parents (Forældre) with Søren Malling (Nikolaj Arcel's A Royal Affair) and Bodil Jørgensen (Cæcilia Holbek Trier's Agnus Dei) soon in Anders Thomas Jensen's Men & Chicken with Mads Mikkelsen; Elvis Presley (Shannon) and Richard Nixon (Spacey) meeting in Liza Johnson's Elvis & Nixon, co-written by Joey Sagal, Cary Elwes and Hanala Sagal (seen in Ferne Pearlstein's The Last Laugh) are some of the highlights of this year's Tribeca Film Festival.
Bart Freundlich's Wolves and Robert Scott Wildes' Poor Boy,...
Thierry Demaizière and Alban Teurlai's look at Benjamin Millepied (Darren Aronofsky's Black Swan choreographer) in Reset; Everybody Knows...Elizabeth Murray by Kristi Zea (two-time Oscar nominee for Sam Mendes' Revolutionary Road and James L. Brooks' As Good As It Gets), with journals performed by Meryl Streep; Christian Tafdrup's Parents (Forældre) with Søren Malling (Nikolaj Arcel's A Royal Affair) and Bodil Jørgensen (Cæcilia Holbek Trier's Agnus Dei) soon in Anders Thomas Jensen's Men & Chicken with Mads Mikkelsen; Elvis Presley (Shannon) and Richard Nixon (Spacey) meeting in Liza Johnson's Elvis & Nixon, co-written by Joey Sagal, Cary Elwes and Hanala Sagal (seen in Ferne Pearlstein's The Last Laugh) are some of the highlights of this year's Tribeca Film Festival.
Bart Freundlich's Wolves and Robert Scott Wildes' Poor Boy,...
- 4/4/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In this era of digital projectors, Alexa cameras and minimal, Dslr-enabled budgets, the art of loading rolls of film into a magazine and shooting with a 16 or 35mm lens is fast becoming a fading practice. And yet, there are those determined storytellers who dare to pull it off. But is shooting on film on a low budget even possible these days? A Wednesday morning panel at the Ifp’s Screen Forward conference comprised of cinematographer Frank DeMarco (All is Lost, Margin Call), producer Adam Piotrowicz (Listen Up Phillip, Queen of Earth). cinematographer/producer/director/editor Ferne Pearlstein (Imelda) and director/producer Ari Taub (79 […]...
- 9/24/2015
- by Anisha Jhaveri
- Filmmaker Magazine - Blog
In this era of digital projectors, Alexa cameras and minimal, Dslr-enabled budgets, the art of loading rolls of film into a magazine and shooting with a 16 or 35mm lens is fast becoming a fading practice. And yet, there are those determined storytellers who dare to pull it off. But is shooting on film on a low budget even possible these days? A Wednesday morning panel at the Ifp’s Screen Forward conference comprised of cinematographer Frank DeMarco (All is Lost, Margin Call), producer Adam Piotrowicz (Listen Up Phillip, Queen of Earth). cinematographer/producer/director/editor Ferne Pearlstein (Imelda) and director/producer Ari Taub (79 […]...
- 9/24/2015
- by Anisha Jhaveri
- Filmmaker Magazine-Director Interviews
Despite one feature film under his belt with 2006′s Land of the Blind (the Ralph Fiennes and Donald Sutherland starrer won the Nicholl Fellowship from the Academy of Motion Picture Arts and Sciences award and landed at Rotterdam, but didn’t gain much traction after that), Robert Edwards isn’t an unknown entity for Sundance programmers. His 2002 docu short, Voice of the Prophet landed at the fest and American Prometheus, a project that hasn’t yet materialized, was awarded a the 2011 Sloan Science-in-Film Initiative Commissioning Grant. It appears that the filmmaker has had several high profile projects that didn’t materialize, but this April, is when he finally got a greenlight. When I Live My Life Over Again sees Christopher Walken, Amber Heard, Kelli Garner, Hamish Linklater, Ann Magnuson and Oliver Platt in a New York city set drama.
Gist: The New York-based drama sees Walken play Lombard, dubbed “The King of Romance,...
Gist: The New York-based drama sees Walken play Lombard, dubbed “The King of Romance,...
- 11/14/2014
- by Eric Lavallee
- IONCINEMA.com
Into The Storm and Hatfields & McCoys actor Max Deacon has been cast in The Call Up, a British action/sci-fi pic set in the world of computer gaming technology. Written and directed by commercials helmer Charles Barker, The Call Up topped the 2011 Brit List of the best unproduced screenplays in the UK. The story follows a group of elite online gamers who each receive a mysterious invitation to trial a state-of-the-art virtual reality video game. The experience brings modern warfare to life with frightening realism, but what starts out like a dream encounter, quickly takes a turn for the sinister. EOne has Germany, France and Scandinavian rights with Altitude Film Sales handling international. Morfydd Clark (Madame Bovary), Ali Cook (The Anomaly), Parker Sawyers (Monsters: Dark Continent), Tom Benedict Knight (Dracula Untold), Boris Ler (In The Land Of Blood And Honey), and newcomers Douggie McMeekin and Adriana Randall also star. Shooting begins November 10 in Birmingham,...
- 10/28/2014
- by Nancy Tartaglione
- Deadline
Exclusive: Christopher Walken, Amber Heard star in New York comedy-drama.
K5 International has boarded New York-based comedy-drama When I Live My life Over Again, starring Christopher Walken, Amber Heard and Oliver Platt.
Oliver Simon and Daniel Baur’s sales outfit will introduce the film to buyers at Afm.
Zombieland star Heard plays Jude, the daughter of a famous crooner Paul Lombard (Walken), but for the proud, feisty Jude, spending time with her egocentric, impossible-to-please father becomes her worst nightmare as he plots his big comeback.
The film is written and directed by Robert Edwards and co-stars Kelli Garner (The Aviator), Ann Magnuson (Panic Room), and Hamish Linklater (Fantastic Four).
Producers are Parts & Labor’s Lars Knudsen and Jay Van Hoy (Ain’t Them Bodies Saints), Chris Maybach, Saemi and Saerom Kim at Maybach Film Productions (Martha Marcy May Marlene), Ferne Pearlstein and Lucas Joaquin (Beasts of the Southern Wild).
Executive producers are Oliver Simon and Daniel Baur at K5, Eugene Lee...
K5 International has boarded New York-based comedy-drama When I Live My life Over Again, starring Christopher Walken, Amber Heard and Oliver Platt.
Oliver Simon and Daniel Baur’s sales outfit will introduce the film to buyers at Afm.
Zombieland star Heard plays Jude, the daughter of a famous crooner Paul Lombard (Walken), but for the proud, feisty Jude, spending time with her egocentric, impossible-to-please father becomes her worst nightmare as he plots his big comeback.
The film is written and directed by Robert Edwards and co-stars Kelli Garner (The Aviator), Ann Magnuson (Panic Room), and Hamish Linklater (Fantastic Four).
Producers are Parts & Labor’s Lars Knudsen and Jay Van Hoy (Ain’t Them Bodies Saints), Chris Maybach, Saemi and Saerom Kim at Maybach Film Productions (Martha Marcy May Marlene), Ferne Pearlstein and Lucas Joaquin (Beasts of the Southern Wild).
Executive producers are Oliver Simon and Daniel Baur at K5, Eugene Lee...
- 10/28/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Christopher Walken, Amber Heard star in New York drama.
K5 International has boarded New York-based drama When I Live My life Over Again, starring Christopher Walken, Amber Heard and Oliver Platt.
Oliver Simon and Daniel Baur’s sales outfit will introduce the film to buyers at Afm.
Zombieland star Heard plays Jude, the daughter of a famous crooner Paul Lombard (Walken), but for the proud, feisty Jude, spending time with her egocentric, impossible-to-please father becomes her worst nightmare as he plots his big comeback.
The film is written and directed by Robert Edwards and co-stars Kelli Garner (The Aviator), Ann Magnuson (Panic Room), and Hamish Linklater (Fantastic Four).
Producers are Parts & Labor’s Lars Knudsen and Jay Van Hoy (Ain’t Them Bodies Saints), Chris Maybach, Saemi and Saerom Kim at Maybach Film Productions (Martha Marcy May Marlene), Ferne Pearlstein and Lucas Joaquin (Beasts of the Southern Wild).
Executive producers are Oliver Simon and Daniel Baur at K5, Eugene Lee...
K5 International has boarded New York-based drama When I Live My life Over Again, starring Christopher Walken, Amber Heard and Oliver Platt.
Oliver Simon and Daniel Baur’s sales outfit will introduce the film to buyers at Afm.
Zombieland star Heard plays Jude, the daughter of a famous crooner Paul Lombard (Walken), but for the proud, feisty Jude, spending time with her egocentric, impossible-to-please father becomes her worst nightmare as he plots his big comeback.
The film is written and directed by Robert Edwards and co-stars Kelli Garner (The Aviator), Ann Magnuson (Panic Room), and Hamish Linklater (Fantastic Four).
Producers are Parts & Labor’s Lars Knudsen and Jay Van Hoy (Ain’t Them Bodies Saints), Chris Maybach, Saemi and Saerom Kim at Maybach Film Productions (Martha Marcy May Marlene), Ferne Pearlstein and Lucas Joaquin (Beasts of the Southern Wild).
Executive producers are Oliver Simon and Daniel Baur at K5, Eugene Lee...
- 10/28/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Sundance Film Festival
PARK CITY -- Like Cher and Madonna, Imelda Marcos is one of those public figures who is so distinctive that she has become known only by her first name. Imelda is probably most famous for owning hundreds of pairs of shoes, but Ramona S. Diaz's documentary about the former Philippine first lady goes beyond that and captures a complex and contradictory world figure. "Imelda" is by turns humorous, insightful and infuriating and should be a hit on the international festival circuit and possibly break out to a modest theatrical run, before reaching its major audience on PBS, which partially financed the film.
Diaz first met Imelda in 1993 when she was working on a film about the fall of the Marcos regime in her native Philippines. The interview was scheduled to last fifteen minutes and went on for five hours. It was then that Diaz proposed a documentary to Imelda, who immediately agreed, her instinct for self-promotion stronger than her modesty.
When filming finally started five years later, Imelda honored her commitment and granted the filmmakers unprecedented access. Diaz and her crew shot in Imelda's trailer, her seaside home and in public, where she is greeted by a still adoring public.
Imelda proves to be a wonderful subject. Her charm, poise and beauty make it difficult to hate her despite the suffering and human rights violations perpetrated by the dictatorship of her husband Ferdinand Marcos in his reign of terror from 1966-1986. At one time, the government had an estimated 17,000 political prisoners locked up.
Imelda chooses not to see the dire poverty of her country and admittedly turns her head to ugliness. Instead she lives a kind of fairly tale life. Born into a politically powerful family, and the toast of Manila society, the young and beautiful Imelda was on the fast track to movie stardom before she met and married Ferdinand Marcos after an eleven day courtship. The young handsome couple were like the Kennedys and were embraced by U.S. presidents from Johnson to Reagan. Terrific newsreel footage shows her dancing with Henry Kissenger and being serenaded by George Hamilton who croons, "We can't give you anything but love, Imelda."
Although Cosmopolitan named her one of the ten richest women in the world in 1975, and when the Marcoses fled the Philippines, they reportedly had deposits of $659 million in Swiss banks and extensive real estate holdings, Imelda is either blissfully ignorant of any wrongdoing or lives in total denial. "I'm very simple", she says, "I don't know why they make a problem of me."
Exile in Hawaii and numerous lawsuits do not seem to have slowed her down a bit. She is still immaculately and expensively dressed and lives lavishly, certainly not on the $90 a month pension she receives for her husband's war service. Wonderfully shot in 16 millimeter by Ferne Pearlstein (who won the documentary cinematography award at Sundance), film shows the beauty of the Philippines and the struggle of its people to just get by. Diaz obviously has a love/hate relationship with her subject, and clearly takes to heart the Manola Blahnik slogan. As she sees it, there is indeed "a little bit of Imelda in all of us."
IMELDA
A Cinediaz Production.
Credits:
Director, producer, Ramona S. Diaz
Director of photography, Ferne Pearlstein
Music: Grace Nono, Bob Aves, TAO music
Editor, Leah Marino
Running Time -- 101 minutes
No MPAA Rating...
PARK CITY -- Like Cher and Madonna, Imelda Marcos is one of those public figures who is so distinctive that she has become known only by her first name. Imelda is probably most famous for owning hundreds of pairs of shoes, but Ramona S. Diaz's documentary about the former Philippine first lady goes beyond that and captures a complex and contradictory world figure. "Imelda" is by turns humorous, insightful and infuriating and should be a hit on the international festival circuit and possibly break out to a modest theatrical run, before reaching its major audience on PBS, which partially financed the film.
Diaz first met Imelda in 1993 when she was working on a film about the fall of the Marcos regime in her native Philippines. The interview was scheduled to last fifteen minutes and went on for five hours. It was then that Diaz proposed a documentary to Imelda, who immediately agreed, her instinct for self-promotion stronger than her modesty.
When filming finally started five years later, Imelda honored her commitment and granted the filmmakers unprecedented access. Diaz and her crew shot in Imelda's trailer, her seaside home and in public, where she is greeted by a still adoring public.
Imelda proves to be a wonderful subject. Her charm, poise and beauty make it difficult to hate her despite the suffering and human rights violations perpetrated by the dictatorship of her husband Ferdinand Marcos in his reign of terror from 1966-1986. At one time, the government had an estimated 17,000 political prisoners locked up.
Imelda chooses not to see the dire poverty of her country and admittedly turns her head to ugliness. Instead she lives a kind of fairly tale life. Born into a politically powerful family, and the toast of Manila society, the young and beautiful Imelda was on the fast track to movie stardom before she met and married Ferdinand Marcos after an eleven day courtship. The young handsome couple were like the Kennedys and were embraced by U.S. presidents from Johnson to Reagan. Terrific newsreel footage shows her dancing with Henry Kissenger and being serenaded by George Hamilton who croons, "We can't give you anything but love, Imelda."
Although Cosmopolitan named her one of the ten richest women in the world in 1975, and when the Marcoses fled the Philippines, they reportedly had deposits of $659 million in Swiss banks and extensive real estate holdings, Imelda is either blissfully ignorant of any wrongdoing or lives in total denial. "I'm very simple", she says, "I don't know why they make a problem of me."
Exile in Hawaii and numerous lawsuits do not seem to have slowed her down a bit. She is still immaculately and expensively dressed and lives lavishly, certainly not on the $90 a month pension she receives for her husband's war service. Wonderfully shot in 16 millimeter by Ferne Pearlstein (who won the documentary cinematography award at Sundance), film shows the beauty of the Philippines and the struggle of its people to just get by. Diaz obviously has a love/hate relationship with her subject, and clearly takes to heart the Manola Blahnik slogan. As she sees it, there is indeed "a little bit of Imelda in all of us."
IMELDA
A Cinediaz Production.
Credits:
Director, producer, Ramona S. Diaz
Director of photography, Ferne Pearlstein
Music: Grace Nono, Bob Aves, TAO music
Editor, Leah Marino
Running Time -- 101 minutes
No MPAA Rating...
Sundance Film Festival
PARK CITY -- Like Cher and Madonna, Imelda Marcos is one of those public figures who is so distinctive that she has become known only by her first name. Imelda is probably most famous for owning hundreds of pairs of shoes, but Ramona S. Diaz's documentary about the former Philippine first lady goes beyond that and captures a complex and contradictory world figure. "Imelda" is by turns humorous, insightful and infuriating and should be a hit on the international festival circuit and possibly break out to a modest theatrical run, before reaching its major audience on PBS, which partially financed the film.
Diaz first met Imelda in 1993 when she was working on a film about the fall of the Marcos regime in her native Philippines. The interview was scheduled to last fifteen minutes and went on for five hours. It was then that Diaz proposed a documentary to Imelda, who immediately agreed, her instinct for self-promotion stronger than her modesty.
When filming finally started five years later, Imelda honored her commitment and granted the filmmakers unprecedented access. Diaz and her crew shot in Imelda's trailer, her seaside home and in public, where she is greeted by a still adoring public.
Imelda proves to be a wonderful subject. Her charm, poise and beauty make it difficult to hate her despite the suffering and human rights violations perpetrated by the dictatorship of her husband Ferdinand Marcos in his reign of terror from 1966-1986. At one time, the government had an estimated 17,000 political prisoners locked up.
Imelda chooses not to see the dire poverty of her country and admittedly turns her head to ugliness. Instead she lives a kind of fairly tale life. Born into a politically powerful family, and the toast of Manila society, the young and beautiful Imelda was on the fast track to movie stardom before she met and married Ferdinand Marcos after an eleven day courtship. The young handsome couple were like the Kennedys and were embraced by U.S. presidents from Johnson to Reagan. Terrific newsreel footage shows her dancing with Henry Kissenger and being serenaded by George Hamilton who croons, "We can't give you anything but love, Imelda."
Although Cosmopolitan named her one of the ten richest women in the world in 1975, and when the Marcoses fled the Philippines, they reportedly had deposits of $659 million in Swiss banks and extensive real estate holdings, Imelda is either blissfully ignorant of any wrongdoing or lives in total denial. "I'm very simple", she says, "I don't know why they make a problem of me."
Exile in Hawaii and numerous lawsuits do not seem to have slowed her down a bit. She is still immaculately and expensively dressed and lives lavishly, certainly not on the $90 a month pension she receives for her husband's war service. Wonderfully shot in 16 millimeter by Ferne Pearlstein (who won the documentary cinematography award at Sundance), film shows the beauty of the Philippines and the struggle of its people to just get by. Diaz obviously has a love/hate relationship with her subject, and clearly takes to heart the Manola Blahnik slogan. As she sees it, there is indeed "a little bit of Imelda in all of us."
IMELDA
A Cinediaz Production.
Credits:
Director, producer, Ramona S. Diaz
Director of photography, Ferne Pearlstein
Music: Grace Nono, Bob Aves, TAO music
Editor, Leah Marino
Running Time -- 101 minutes
No MPAA Rating...
PARK CITY -- Like Cher and Madonna, Imelda Marcos is one of those public figures who is so distinctive that she has become known only by her first name. Imelda is probably most famous for owning hundreds of pairs of shoes, but Ramona S. Diaz's documentary about the former Philippine first lady goes beyond that and captures a complex and contradictory world figure. "Imelda" is by turns humorous, insightful and infuriating and should be a hit on the international festival circuit and possibly break out to a modest theatrical run, before reaching its major audience on PBS, which partially financed the film.
Diaz first met Imelda in 1993 when she was working on a film about the fall of the Marcos regime in her native Philippines. The interview was scheduled to last fifteen minutes and went on for five hours. It was then that Diaz proposed a documentary to Imelda, who immediately agreed, her instinct for self-promotion stronger than her modesty.
When filming finally started five years later, Imelda honored her commitment and granted the filmmakers unprecedented access. Diaz and her crew shot in Imelda's trailer, her seaside home and in public, where she is greeted by a still adoring public.
Imelda proves to be a wonderful subject. Her charm, poise and beauty make it difficult to hate her despite the suffering and human rights violations perpetrated by the dictatorship of her husband Ferdinand Marcos in his reign of terror from 1966-1986. At one time, the government had an estimated 17,000 political prisoners locked up.
Imelda chooses not to see the dire poverty of her country and admittedly turns her head to ugliness. Instead she lives a kind of fairly tale life. Born into a politically powerful family, and the toast of Manila society, the young and beautiful Imelda was on the fast track to movie stardom before she met and married Ferdinand Marcos after an eleven day courtship. The young handsome couple were like the Kennedys and were embraced by U.S. presidents from Johnson to Reagan. Terrific newsreel footage shows her dancing with Henry Kissenger and being serenaded by George Hamilton who croons, "We can't give you anything but love, Imelda."
Although Cosmopolitan named her one of the ten richest women in the world in 1975, and when the Marcoses fled the Philippines, they reportedly had deposits of $659 million in Swiss banks and extensive real estate holdings, Imelda is either blissfully ignorant of any wrongdoing or lives in total denial. "I'm very simple", she says, "I don't know why they make a problem of me."
Exile in Hawaii and numerous lawsuits do not seem to have slowed her down a bit. She is still immaculately and expensively dressed and lives lavishly, certainly not on the $90 a month pension she receives for her husband's war service. Wonderfully shot in 16 millimeter by Ferne Pearlstein (who won the documentary cinematography award at Sundance), film shows the beauty of the Philippines and the struggle of its people to just get by. Diaz obviously has a love/hate relationship with her subject, and clearly takes to heart the Manola Blahnik slogan. As she sees it, there is indeed "a little bit of Imelda in all of us."
IMELDA
A Cinediaz Production.
Credits:
Director, producer, Ramona S. Diaz
Director of photography, Ferne Pearlstein
Music: Grace Nono, Bob Aves, TAO music
Editor, Leah Marino
Running Time -- 101 minutes
No MPAA Rating...
- 1/28/2004
- The Hollywood Reporter - Movie News
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