Best friends Anna and Beth take a weekend trip to Big Sur, hopeful to re-establish a bond broken by years of competition and jealousy. Tensions mount, however, leading to an unexpected yet ... See full summary »
Lawrence Michael Levine
While training at the gym 11-year-old tomboy Toni becomes entranced with a dance troupe. As she struggles to fit in she finds herself caught up in danger as the group begins to suffer from fainting spells and other violent fits.
Anna Rose Holmer
Antonio A.B. Grant Jr.
Exposing her role behind the camera, Kirsten Johnson reaches into the vast trove of footage she has shot over decades around the world. What emerges is a visually bold memoir and a revelatory interrogation of the power of the camera.
Journalist David Farrier stumbles upon a mysterious tickling competition online. As he delves deeper he comes up against fierce resistance, but that doesn't stop him getting to the bottom of a story stranger than fiction.
A teenage girl with nothing to lose joins a traveling magazine sales crew, and gets caught up in a whirlwind of hard partying, law bending and young love as she criss-crosses the Midwest with a band of misfits.
Chubbuck's death was a very deliberate performance. It was even scripted, with material provided for a subsequent newscaster to read out after her death. How did she prepare herself to be able to go through with this, to play this role? Enter actress Kate Lyn Sheil, ostensibly preparing to play Chubbuck in a TV movie (which, needless to say, doesn't really exist). The film carries us through her process, right up to that challenging final scene. Can she imitate what Chubbuck did, or will her increasing closeness to her character actually make it harder? In the curious absence of footage of the dead woman - to help her get her movement and intonation right. The more she researches Chubbuck's decidedly unremarkable life, the more she seems to slip into depression herself - and how much of this is Sheil-as-self or Sheil-as-actor is hard to determine - so that by that final scene, having seen her buy a gun, one can't help but wonder if she has dangerous plans of her own. Sheil increasingly questions the ethics of showing the death at all, even as a reconstruction. Why do we need to see it? Greene, however, has carefully primed the viewer, from that first scene all the way through a script peppered with references to it, deliberately piquing curiosity. It's easy to connect with Sheil's developing obsession, harder to walk the same path. In this way, Greene forces us to ask questions about ourselves as well.
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