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Los Angeles - Peaches hit Cinefamily in L.A. last night to promote her movie "Peaches Does Herself," which is "an electro rock opera stage show that recounts a mythical history of Peaches and follows her journey from bedroom musician-wannabe to rock star." The film features a 65-year-old stripper, a body suit with breast and penis prosthesis, spandex orgies, gore and full-frontal transsexual porn star and performer Danni Daniels. "...The most beautiful human being possible," as Peaches said of the latter during our interview. It's easy to remember the visuals of the musical film, along with its choreography, and that's part of »
The 4th annual Brisbane Underground Film Festival will take place on three nights — and one afternoon screening — on Nov. 21-23 at the Brisbane Powerhouse arts center.
The fest opens on the 21st with two documentaries about two iconic performers. First up is Jeffrey Schwarz’s hit I Am Divine, about the legendary actress and drag queen; followed by the performance film Peaches Does Herself.
Screenings at the rest of the fest include Drew Tobia’s outrageous debut feature See You Next Tuesday, which has been tearing up the underground circuit; Zach Clark’s holiday dark comedy White Reindeer; transgressive filmmaker Jon Moritsugu’s return to the cinema, Pig Death Machine; the graffiti art documentary Vigilante Vigilante by Max Good and more. Each feature film is preceded by a short film, as well.
The full film lineup for the 2013 Brisbane Underground Film Festival is below. But, please visit the fest’s »
- Mike Everleth
For over a decade, electroclash punk artist Peaches has danced a wild line between pop artist and provocateur. While commercial mainstream pop singers come and go, the 46-year-old Peaches remains as feisty and in tune with her boundary-pushing sensibilities as ever. And now she can add filmmaker to her colorful resumé: With the concert film "Peaches Does Herself," which opened in limited release this weekend, Peaches directs an expressionistic representation of her stage show, featuring a lively rendition of 22 tracks ("Fuck the Pain Away," "Lovertits" and "Shake Yer Dix" all get their moments) -- and stringing them together with an eruption of lighting schemes, playfully erotic moments and vulgar rants that create the perception of the singer's persona come to explosive life. Following its Toronto International Film Festival premiere, Indiewire contributor Boyd Van Hoeij described "Peaches Does Herself" as "a 'Pina' for the queer and sexually liberated crowd." And Indiewire's Peter. »
- Eric Kohn
Editor’s Note: This review originally ran as part of our coverage of Sfiff, and we repost it now as the film opens today at the Quad Cinemas with a national rollout to follow. It seems like the appetite for widely-loved trans/glam/camp musical/rock operas can take a new one about once every two decades. Rocky Horror Picture Show was released in the late ‘70s, and Hedwig and the Angry Inch at the end of the 90s (even if it wasn’t made into a film until 2001). With Peaches Does Herself, electroclash musician and performance artist Peaches is gunning for an early next spot. The career retrospective/genesis story of the “electro-artist persona Peaches,” Peaches Does Herself is told with the help of trans porn star Danni Daniels, veteran stripper Sandy Kane, and the Fatherfucker dance troupe. It’s a high-energy, transgressive, genial revue with barely a word of dialogue. As »
- Mark James
Produced and directed by the electroclash icon of the title, Peaches Does Herself begins with an academic (Armin Dallapiccola) giving a dry lecture on Peaches. Though in unsubtitled German, it feels like a dare to intellectualize what comes next: an 80-minute performance piece that roughly tracks Peaches's career, from recording in her bedroom to full-fledged rock stardom. While it helps to already be a fan, it's imaginative and energetic enough to be entertaining for the uninitiated. Peaches has always reveled in dismantling gender, and forthright sexuality is her trademark, so Peaches Does Herself boils over in the third act when she falls in lust with transgender porn star Danii Daniels, in all her naked, 6-foot-2-inch glory—this, after Peaches, in an ons »
“Peaches Does Herself” finds the Canadian expat electroclash pioneer doing her outrageously (and often hilariously) sexual thing in a rock-opera form consisting of back-catalog songs and an elaborate, entertaining stage presentation. This high-grade concert film will enthrall fans and amuse more open-minded newbies, though it suffers from the most dynamic material being largely clustered in the pic’s front section. Continuing to play one-off dates and festivals a year after its Toronto fest premiere, often with its director/writer/producer/composer/star in attendance, it opens a theatrical run Oct. 18 at New York’s Quad Cinema.
It begins with a stuffy academic (Armin Dallapiccola) giving a lectern introduction in untranslated German, only to be interrupted by a “riot grrrl band” (two-woman Berlin act Jolly Goods) singing Peach’s “Rock Show,” with the star herself revealed sitting on a very large bed whose sides look like a giant Rubik’s cube. »
- Dennis Harvey
The T-Mobile New Horizons Intl. Film Festival, which unspools July 18-28, will open with this year’s Cannes Palme d’Or winner “Blue Is the Warmest Color” by Abdellatif Kechiche. Poland’s biggest film fest will close with the Polish premiere of Malgoska Szumowska’s Berlinale competition title and Teddy Award winner “In the Name Of.”
The New Horizons competition lineup features 12 Polish premieres, while the fest’s Films in Art competition includes 12 documentaries.
The full list of competition titles:
“Celestial Wives of Meadow Mari,” Aleksey Fedorchenko (Russia)
“Fat Shaker,” Mohammad Shirvani (Iran)
“Floating Skyscrapers,” Tomasz Wasilewski (Poland)
“Krivina,” Igor Dljaca (Bosnia and Herzegovina/Canada)
“Leones,” Jazmin Lopez (Argentina/France/ Netherlands)
“Lightning,” Manuela Morgaine (France)
- Michelle Salemi
In a few weeks the fifth annual BAMcinemaFest at the Brooklyn Academy of Music kicks off, bringing a wide array of stellar content to New York’s hippest borough. Today, the full line-up has been revealed for the festival, which runs from June 19th to the 28th, which includes the New York premiere of the documentary “Peaches Does Herself” about punky synth pop star Peaches (complete with a live performance by the star) and the New York premiere of “I Used to Be Darker,” the new film by Matthew Porterfield. Get your subway tickets ready: it’s going to be a good one.On Tuesday, June 25th, “Peaches Does Herself” will have its New York premiere. Anyone familiar with the aggressively avant garde pop rocker will undoubtedly want to show up (she’s kind of the best) and the documentary promises a campaign of shock and awe, complete with “cameos »
- Drew Taylor
Peaches Does Herself, 2012
Written and directed by Peaches
You remember that episode of Spaced where they go and watch Vulva's stage show? Well Peaches Does Herself is exactly like that - but for 80 minutes.
Your enjoyment of Peaches Does Herself will all depend on your level of knowledge of Peaches' music and life. This 'anti-jukebox stage opera' is a pretty bizarre movie with some intriguing visuals, thumping music, risqué images and an odd sense of humour. Part of me thought it was okay, but the other part of me left with a headache.
According to the press notes, Peaches Does Herself is a semi-autobiographical tale of how she went from wannabe bedroom rock star to full blown musician while dealing with sexuality, »
The Kings of Summer empathises with two high school kids, Joe (Nick Robinson) and Patrick (Gabriel Basso), who trade their exasperated suburban living for an unconventional residency deep in the forest. With the assistance of affable yet creepy tag-along Biaggio (Moises Arias), the boys transform scraps of wood into an implausibly well-structured new home for fostering their abrupt adult life. As you’d expect, harsh lessons are soon learned.
Jordan Vogt-Roberts’ debut feature doesn’t establish anything especially new or bold as far as coming-of-age tales are concerned. Its thematic arc is well-trodden, concluding on general sentiments of self-sacrifice and the inherent worth of family and friendship, however fractured.
As a tale of misunderstood children escaping from their parents, Kings smacks of Moonrise Kingdom, except without any of the flavoursome aesthetic that lent that film its warmth. The odd glimpse of a liberating nature is savoured here in brief, slow motion breezes, »
- Ed Doyle
Running Time: 80 minutes.
Synopsis: On the advice of an old stripper, Peaches makes sexually forthright music. This electro rock opera follows Peaches’ rise in popularity and her love affair with a beautiful Shemale who ultimately leads her to realise who she really is.
Every once in a while, a film comes along that you know will attain cult status. Meet Sundance London’s cult film, Peaches Does Herself. It would have been incredibly easy for Peaches to make a music documentary about her life as she’s been in the game for almost 23 years, but instead of letting some bigwig tell the story, she takes on directing duties and tells her story through a semibiographical rock musical. However, if you’re expecting Singin’ In The Rain, you may or may not be pleasantly surprised.
Focusing mainly »
- Lucy Cave
Rating: 2.5 out of 5 stars
Viewers will be forgiven for assuming that Berlin-based electronic musician Peaches’ concert film Peaches Does Herself is more than a little self-indulgent; after all, who could watch the first ten minutes, in which she sings songs exalting herself above all others, without thinking that? Fans of the performer’s outlandish stage antics – namely her playful sexual escapades – will find themselves right at home here, though others are likely to struggle with her overbearing shtick.
There’s little point denying the catchy appeal of Peaches’ music – one number conducted by light-powered synthesisers is simply magnificent – though the self-conscious flamboyance of the whole endeavour runs woefully low on steam long before the 80-minute run-time winds to a close. So keen is Peaches to provoke that in smacking so clearly of desperation, the opposite feeling is the result.
As Peaches walks around on stage with a prosthetic penis attached »
- Shaun Munro
For four days beginning Thursday 25 April, the London o2 in Greenwich hosts Robert Redford’s 2013 Sundance London Film and Music Festival, a celebration of independent cinema both home-grown and stateside, flavoured with live music performances, panel discussions, and Q&A sessions with filmmakers.
This year’s selection includes some familiar faces: Jeff Nichols’ 2012 Cannes competitor Mud resurfaces ahead of its UK release next month, while Sundance regular Lynn Shelton returns with Touchy Feely, about a massage therapist afflicted with a sudden aversion to bodily contact. Bonds of all kinds are an overarching theme of the main programme, broken in divorce (A.C.O.D.) strengthened in friendship (The Kings of Summer and The Inevitable Defeat of Mister and Pete) and unearthed in the unlikeliest of places (Emmanuel and the Truth About Fishes).
If familial bonds recur frequently throughout the selection, there’s none more unconventional than that between smut baron »
- Ed Doyle
Tags: PeachesPeaches Does HerselfIMDbMusic Interviewsmovie interviewsmoviesmusicmusic news
I see you sitting, stuffing your face, why don't you stuff me up? Eat a cookie, a big dick, everyday, what? Eat a cookie, a big clit, everyday, what?
Cruising from corporate owned radio station to radio station, you probably won’t chance upon these lyrics. From musician Peaches’ song “Stuff Me Up,” they celebrate aggressive female sexuality in a way still foreign to mainstream radio. And that’s just fine with Peaches. A focused, ever-evolving performer she’s done everything from rap with Christina Aguilera to play the titular role in Jesus Christ Superstar. She spoke with AfterEllen.com about Lady Gaga, gender ambiguity and her new transexual rock opera documentary Peaches Does Herself.
AfterEllen.com: How does using a stage name effect your work?
Peaches: Well, for me, I think I chose a name people enjoy saying. It's catchy and sounds cool. »
- Sarah Terez Rosenblum
One movie featuring explict gay sex is to serve as "consolation" for the banning of another such movie at a film festival in Australia (pictured above: Brenden Gregory and Jesse Metzger in Travis Mathews' romantic / psychological drama I Want Your Love) Travis Mathews and James Franco's explicit Interior. Leather Bar, about how "straight" and "gay" actors react while filming the recreation of footage supposedly cut from William Friedkin's much criticized 1980 crime thriller Cruising, will be screened as a sort of "consolation movie" for Mathews' own explicit effort I Want Your Love, the tale of two gay male friends who opt to make their friendship into something more physical. Scheduled for a presentation at the 2013 Melbourne Queer Film Festival, Mathews' movie was banned by Australia's Classification Board. Here's a great quote: David Cronenberg, the director of dozens of movies such as Videodrome, Dead Ringers, Naked Lunch, A Dangerous Method, »
- Andre Soares
Thn were there last year and will be there again to bring you all the coverage from Sundance London 2013. Today, the Sundance Institute and The O2 have announced their programme of panels, feature films and short films for the second Sundance London film and music festival, 25-28 April at The O2.
Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming. The 2013 programme continues its 2012 focus on presenting new work by independent filmmakers and exploring the interplay between independent film and music.
The programme announced today includes 18 feature films and nine short films across four sections, including a new UK Spotlight. Twenty-three films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards when they premiered at the Sundance Film Festival in Park City, »
- Dan Bullock
The Sundance Institute and London’s O2 venue announced this week the programme of panels, feature films and short films for the second Sundance London film and music festival which is schduled to run from the 25-28 April. The Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming, bringing its unique blend of indepedeant cinema and music to the heart of London. The programme continues its 2012 focus on presenting new work by independent filmmakers and exploring the interplay between independent film and music.
The programme announced today includes 18 feature films and nine short films across four sections, including a new UK Spotlight. Twenty-three films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards when they premiered at the »
The lineup for the second annual Sundance London Film and Music Festival was released yesterday, full details of the features playing can be found here.
The festival Directors have outdone themselves this year, building on the success of the inaugural event in 2012. There are a number of UK and International premieres as well as a chorus of new voices and the ethos of the Park City festival has traveled very well across the pond.
On the occasion of the lineup being revealed we took some time out with John Cooper, Director of the Sundance Film Festival and Trevor Groth, Director of Programming for the Sundance Film Festival to get a feel for their thinking when they compiled the festival programme as well as their take on the independent cinema scene in the UK and the Us.
Our interview with John and Trevor is below, the responses are marked with the »
- Jon Lyus
Music and comedy standout themes in UK edition of Robert Redford's independent film festival, now in its second year
An appearance by the Eagles to mark a new documentary about the iconic 70s rockers, a live show from singer and performance artist Peaches to celebrate her new film, and a Jimmy Carr-hosted panel to discuss the standup comedy-themed drama Sleepwalk With Me are among the highlights of this year's Sundance London, which returns to the O2 arena next month.
In its second year, the UK edition of the festival, which culls the best selection of movies from Robert Redford's annual celebration of American independent film-making, once again has a musical flavour. Grammy award-winning composer David Arnold will present a panel titled The Art of the Score, detailing his work on Bond films such as Casino Royale, while documentary Muscle Shoals, about the world-famous Alabama studio, has a UK premiere. »
- Ben Child
At the end of April Sundance London returns to the O2 for another festival celebrating the best of independent film and music.
There is the same diverse range of films which made up the inaugural festival last year with a number of UK premieres including Lynn Shelton’s Touchy Feely, Shane Carruth’s Upstream Color and our first look at Steve Coogan in Film4′s The Look of Love.
The festival runs from the 25th to the 28th of April at London’s O2. We’ll be taking a more in depth look at the lineup up later in the week and this afternoon we have an exclusive interview with the festival directors.
Here’s the full line up of films, all the rest of the festival’s content (shorts, music and special events) can be found here at http://www.sundance-london.com which is also where you can buy tickets. »
- Jon Lyus
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