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Thriller 'A Cure for Wellness' Comes Home; Plus This Week's New Digital HD and VOD Releases

Our resident VOD expert tells you what's new to rent and/or own this week via various Digital HD providers such as cable Movies On Demand, Amazon, iTunes, Vudu, Google Play and, of course, Netflix. Cable Movies On Demand: Same-day-as-disc releases, older titles and pretheatrical Before I Fall (thriller-mystery; Zoey Deutch, Halston Sage, Logan Miller; rated PG-13) Fist Fight (comedy; Ice Cube, Charlie Day, Tracy Morgan, Jillian Bell; rated R) The Exception (drama-thriller; Christopher Plummer, Lily James; available 5/30 on cable Mod and in theaters; rated R) Collide (action-thriller; Nicholas Hoult, Felicity Jones; rated PG-13) The Drowning (drama; Josh Charles, Julia Stiles; available 6/1; not rated) I, Daniel Blake (drama; Dave Johns, Hayley Squires...

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Bette Gordon Talks Recognizing the Evil Within Ourselves in “The Drowning”

Bette Gordon’s films have been screened theatrically in the U.S. and abroad, as well as in all the major film festivals, including Cannes, Berlin, Toronto, and Sundance. Her films are in the permanent collection of the Whitney Museum, The Centre Georges Pompidou, and MoMA. Her credits include “Variety,” “Luminous Motion,” and “Handsome Harry.”

The Drowning” is now playing in New York.

W&H: Describe the film for us in your own words.

Bg: A psychological thriller based on the novel “Border Crossing” by Booker Prize-winning novelist Pat Barker, “The Drowning” tells the story of a forensic psychologist who is haunted by his expert-witness testimony that sent a young boy to prison for a chilling murder. When the boy later reappears in his life, he is drawn into a destructive, soul-searching reinvestigation of the case.

Complex, riveting, and unafraid to read deep, murky psychological waters, this is a story of shifting identities that will keep you guessing until the very end.

W&H: What drew you to this story?

Bg: After a tragic incident, in which a close friend was murdered by her 19-year-old son, I was given “Border Crossing.” When I read it, I knew I wanted to make it into a film. The book explores the question of evil — if it can ever really be explained, let alone treated.

As a culture, we are horrified and at the same time fascinated by the dark side of human nature. We consume media that focuses on evil characters. We read books about it, we want to lock it behind bars, exorcise it, and quarantine it, but we don’t look away. Maybe that’s because there is an implicit awareness that there is a darkness in all of us. This scares us and motivates us to probe deeper, much like Tom [played by Josh Charles], the protagonist, who embarks on a journey to explore this fundamental tension.

W&H: What do you want people to think about when they are leaving the theater?

Bg: I am always interested in asking questions about human nature: Do our actions define us? Are people born evil or do they become evil? Can we every truly overcome evil impulses? These questions push us to look within our own psychology to imagine what borders we ourselves have crossed.

W&H: What was the biggest challenge in making the film?

Bg: It is always raising the money. Once the money is there, the challenges can always be solved, and problem-solving is all about creativity.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Bg: We were able to raise most of the budget from an international sales company, which required a strong cast with name value. We also raised private equity to add to the international sales. And I launched a Kickstarter campaign during pre-production.

W&H: What advice do you have for other female directors?

Bg: Keep your eyes straight ahead and don’t compare yourself to others. You have to visualize yourself making the film; you need enormous willpower and tenacity. No matter how many “no’s” you get, there is always a possible “yes” out there.

There are many labs that help with development, support, mentorship, and those are great! I have never had much luck with that myself; I am usually not chosen to be a part labs like at Sundance or Tribeca All Access.

I have managed to surround myself with great collaborators — writers, producers, cinematographers, editors — and have pushed forward. I always provide a visual lookbook of what I see as a director [that helps illustrate] what my approach is to the story and characters. I have a clear sense of why I want to make the film and what it has to say to the audience.

W&H: Name your favorite woman-directed film and why.

Bg: Claire Denis, Jane Campion, Susanne Bier, and Kathryn Bigelow are all women whose work I admire. If I had to choose one favorite film, it may be Campion’s “The Piano,” and her limited series “Top of the Lake” would also be top of my list of favorite shows.

Campion’s use of cinematic language, which is a visual language that trusts the shot to shot relationship of film, allowing meaning and subtext to exist not only in the story, but beneath the story, [is masterful.] She uses off-center framing, composition, lighting, and all the tools that make film such a strong medium for storytelling.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Bg: I can see that things have been changing in the last year. There is a building conversation about women getting more opportunities as directors. I don’t see the evidence of change yet, but the first step is to create more awareness. Then we need a system to push executives to change the approach — to solicit projects by women, and to hire women on to films that need directors. With more television and streaming, there is so much opportunity, yet when I look at the roster of directors on any show, rarely are there more than one or two women directors, unless the shows are created by women like Jill Soloway or Ava DuVernay.

For the last few years I have been trying to work as a director on series, and I have been hearing from people that you need to have directed television in order to be hired. Having directed four feature films, I would love to work with John Ridley on “American Crime,” or with Veena Sud on her new series “Seven Seconds,” or Sarah Treem on “The Affair.” I enjoy the development of character, and these shows really focus on that.

Bette Gordon Talks Recognizing the Evil Within Ourselves in “The Drowning” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Bette Gordon Returns with Thriller The Drowning [Trailer]

Bette Gordon isn't exactly a prolific filmmaker but she is an indie superstar, making the movies she wants to make in her own way. The result is that we don't get to see a whole lot of her work but when a new one comes around, it's worth taking note.

Gordon's latest is The Drowning, a psychological thriller based on Pat Barker's acclaimed novel "Border Crossing."

Josh Charles stars as Tom Seymour, as a forensic psychologist who is still haunted by his involvement in a case years before which sent a young boy named Danny Miller to prison for a terrible crime. Now years later, the boy is a young man out on release and he's made a re-appearance in Tom's life and it doesn't appear to be accidental.

Along with Charles, the movie also stars Julia Stiles and Ava [Continued ...]
See full article at QuietEarth »

May 2017 Film Preview


Women directors are set to dominate screens this May. Everything from luxurious Paris vacations to time travel to narratives about grief and regret are represented in this month’s batch of films.

The month’s releases begin May 3 with Jill Campbell’s doc “Mr. Chibbs,” about a former NBA star figuring out his next phase in life. Then May 5 will bring us Ela Thier’s time travel dramedy “Tomorrow Ever After,” the period drama “A Woman’s Life,” and a story about the intense friendship between two mentally ill women in “Like Crazy.” Also out the fifth is Oscar winner Laura Poitras’ latest documentary, “Risk,” which follows Wikileaks founder Julian Assange over six years.

May 5 sees the release of “3 Generations,” a portrait of a young trans man Ray (Elle Fanning) as he begins his transition. Directed by Gaby Dellal and written by Dellal and Nikole Beckwith, “3 Generations” has sparked controversy since its Cannes premiere in 2015. Many critics and activists are disappointed that Fanning, a cis woman, was selected to play a transgender character. The film has also made headlines for its “R” rating, which The Weinstein Company is challenging.

One week later, Goldie Hawn and Amy Schumer will test their chops as a comedy duo in “Snatched.” Written by “Ghostbusters” scribe Katie Dippold, the film follows a wild daughter (Schumer) who recruits her conservative mother (Hawn) for an exotic vacation that goes horribly wrong.

May’s first few weeks also bring a couple dramas about domestic life to theaters. May 12’s “Paris Can Wait” is Eleanor Coppola’s feature directorial debut and follows one woman’s (Diane Lane) journey of self-discovery as she travels to Paris with a colleague of her inattentive husband. In Robin Swicord’s “Wakefield,” out May 19, “Breaking Bad’s” Bryan Cranston plays a husband and father who chooses to isolate himself from the world in his own attic, giving him time to contemplate his life and the choices he’s made.

May 19 is also the premiere of Stella Meghie’s “Everything, Everything,” which centers on a teenage girl (Amandla Stenberg), who is physically incapable of surviving the outside world, and her romance with the boy next door (Nick Robinson).

The final weekend in May features the release of director Cate Shortland’s critically-acclaimed “Berlin Syndrome.” In this romance turned thriller, Theresa Palmer stars as a woman locked in a man’s apartment against her will, who must come up with some way to escape his grasp.

Here are all the women-centric, women-directed, and women-written films premiering in May. All descriptions are from press materials unless otherwise noted.

May 3

Mr. Chibbs” (Documentary) — Written and Directed by Jill Campbell (Opens in NY)

Mr. Chibbs

This observational documentary follows NYC basketball prodigy and retired NBA All-Star Kenny Anderson in the midst of a mid-life crisis, on a journey to find himself. Reeling from his mother’s death and a subsequent DUI, “Chibbs” visits people and arenas from his past, confronting haunting memories, and ultimately finding solace in becoming the father he never had time to be. Combining unseen archival footage with raw moments of reflection, “Mr. Chibbs” is a portrait of an athlete coming to terms with his past as he searches for relevancy in his future.

May 5

“3 Generations”— Directed by Gaby Dellal; Written by Gaby Dellal and Nikole Beckwith

“3 Generations”

Ray (Elle Fanning) is a teenager who is in the midst of transitioning from female to male. His single mother, Maggie (Naomi Watts), must track down Ray’s biological father (Tate Donovan) to get his legal consent to allow Ray’s transition. Dolly (Susan Sarandon), Ray’s lesbian grandmother, is having a hard time accepting that she now has a grandson. They must each confront their own identities and learn to embrace change and their strength as a family in order to ultimately find acceptance and understanding.

Risk” (Documentary) — Directed by Laura Poitras


Filmed over six years, “Risk” is a complex and volatile character study that collides with a high stakes election year and its controversial aftermath. Cornered in a tiny building for half a decade, Julian Assange is undeterred even as the legal jeopardy he faces threatens to undermine the organization he leads and fracture the movement he inspired. Capturing this story with unprecedented access, Poitras finds herself caught between the motives and contradictions of Assange and his inner circle. In a new world order where a single keystroke can alter history, “Risk” is a portrait of power, betrayal, truth, and sacrifice.

Tomorrow Ever After” — Written and Directed by Ela Thier

Tomorrow Ever After

Shaina (writer-director Ela Thier) is a historian who lives 600 years in the future. Humans, at this point, have cleaned up the planet. War, poverty, pollution, greed, exploitation, depression, loneliness — these are things that she’s read about in history books. And while she studied this dark period of history, in which money was viewed as more precious than people, she has never, in the flesh, seen humans hurt other humans — until now. While visiting a group of physicists who experiment with time travel, Shaina is accidentally left stranded in the year 2015. Here she involves herself with a group of friends who are as lovable as they are flawed. As the harsh realities of their lives unfold, she learns what no history book could have taught her.

“A Woman’s Life” — Co-Written by Florence Vignon (Opens in NY)

“A Woman’s Life”

Adapted from the novel “Une Vie” by Guy de Maupassant, “A Woman’s Life” is a tale of tormented love embedded in the restrictive social and moral codes of marriage and family in 19th century Normandy. Upon finishing her schooling in a convent, young aristocrat Jeanne (Judith Chemla) marries local Viscount Julien de Lamare (Swann Arlaud), who soon reveals himself to be a miserly and unfaithful husband. As she navigates his chronic infidelity, pressure from her family and community, and the alternating joys and burdens of motherhood, Jeanne’s rosy illusions about her privileged world are slowly stripped away.

Like Crazy”— Co-Written by Francesca Archibugi (Opens in NY)

Like Crazy

Beatrice (Valeria Bruni Tedeschi) is a motor-mouthed fantasist, a self-styled billionaire countess who likes to believe she’s on intimate terms with world leaders. Donatella (Micaela Ramazzotti) is a tattooed introvert, a fragile young woman locked in her own mystery. They are both patients at the Villa Biondi, a progressive but secure psychiatric clinic. “Like Crazy” tells the story of the unpredictable and moving friendship that develops between the two women as they flee the mental institution in search of love and happiness in the open-air nuthouse — the world of sane people.

Lady Bloodfight

Jane (Amy Johnson) is a beautiful but troubled American girl backpacking her way through Hong Kong. When she successfully fends off three thugs trying to rob her, she draws the attention of Shu (Muriel Hofmann), a Wudang champion, who is impressed by her raw street fighting abilities. Shu recruits Jane and trains her to fight in the vicious, all-female, underground martial arts tournament known as “The Kumite.” After months of rigorous preparation, Jane is ready to face off against the deadliest female fighters in the world, including Ling (Jenny Wu), the apprentice of Shu’s nemesis, Wai (Kathy Wu).

May 10



Already respected as one of the best actresses in film, Blanchett raises the bar even higher by playing 13 different roles in “Manifesto,” embodying some of the most influential and emotional artist manifestos in history. (Sundance Film Festival)

The Drowning”— Directed by Bette Gordon

The Drowning”: Paladin

The Drowning” is the story of a forensic psychologist (Josh Charles) who is haunted by his expert witness testimony that sent a young boy (Avan Jogia) to prison for a chilling murder. When the boy later reappears in his life, he is drawn into a destructive, soul-searching reinvestigation of the case.

May 12

Snatched” — Written by Katie Dippold


After her boyfriend dumps her on the eve of their exotic vacation, impetuous dreamer Emily Middleton (Amy Schumer) persuades her ultra-cautious mother, Linda (Goldie Hawn), to travel with her to paradise. Polar opposites, Emily and Linda realize that working through their differences as mother and daughter — in unpredictable, hilarious fashion — is the only way to escape the wildly outrageous jungle adventure they have fallen into.

Paris Can Wait” — Written and Directed by Eleanor Coppola

Paris Can Wait

Eleanor Coppola’s feature film directorial and screenwriting debut stars Academy Award nominee Diane Lane as a Hollywood producer’s wife who unexpectedly takes a trip through France, which reawakens her sense of self and her joie de vivre. Anne (Lane) is at a crossroads in her life. Long married to a successful and driven but inattentive movie producer (Alec Baldwin), she finds herself taking a car trip from Cannes to Paris with a business associate of her husband (Arnaud Viard). What should be a seven-hour drive turns into a journey of discovery involving mouthwatering meals, spectacular wines, and picturesque sights.

The Wedding Plan” — Written and Directed by Rama Burshtein

The Wedding Plan

At 32, Michal (Noa Koller) is finally looking forward to the comfort and security of marriage, when she is blindsided by her fiancé’s decision to call off the wedding with only a month’s notice. Unwilling to return to lonely single life, Michal decides to trust in fate and continue with her wedding plans, believing Mr. Right will appear by her chosen date. Confident she will find a match made in heaven, she books a venue, sends out invitations, and buys a wedding dress, as her skeptical mother (Irit Sheleg) and sister look on with trepidation.

Urban Hymn” (Also Available on VOD)

Urban Hymn

A redemptive coming of age story about wayward teen Jamie (Letitia Wright), who is encouraged by an inspiring and unconventional social worker Kate (Shirley Henderson), to use singing as an escape from her troubled background. Jamie’s loyalties soon become torn between Kate and her possessive and volatile best friend, Leanne (Isabella Laughland).

Tracktown” — Co-Written and Co-Directed by Alexi Pappas (Also Available on VOD)

Twenty-one-year-old Plumb Marigold (Alexi Pappas) is a famous but lonely distance runner preparing for the biggest race of her life: The Olympic Trials. But when an injury forces her to take an unexpected day off, Plumb wanders into a bakery where the aimless boy behind the counter catches her eye.

Stefan Zweig: Farewell to Europe” — Co-Written and Directed by Maria Schrader

Stefan Zweig: Farewell to Europe” charts the years of exile in the life of famous Jewish-Austrian writer Stefan Zweig (Josef Hader), his inner struggle for the “right attitude” towards the events in war torn Europe, and his search for a new home.

Dead Awake

Kate Bowman (Jocelin Donahue) is a straight-laced, by-the-books social worker who finds herself plunged into a world of supernatural terror while investigating a series of deaths involving people who died in their sleep. The victims all reported being terrorized by a dark entity that paralyzed and tormented them, before eventually killing them. Kate is joined in this quest by Evan (Jesse Bradford), an artist who is slow to believe that something supernatural is occurring.

Hounds of Love” (Also Available on VOD)

Hounds of Love

Vicki Maloney (Ashleigh Cummings) is randomly abducted from a suburban street by a disturbed couple (Stephen Curry and Emma Booth). As she observes the dynamic between her captors, she quickly realizes she must drive a wedge between them if she is to survive.

“Hindi Medium”— Written by Zeenat Lakhani

“Hindi Medium” is a light-hearted romantic film about a young couple, Raj and Mita (Irrfan Khan and Saba Qamar) who live in Chandni Chowk, Delhi, with aspirations to move into English-speaking society for their daughter’s sake. The film traces their trials and tribulations on this journey and the impact it has on their relationship on their family.

May 19

Everything, Everything” — Directed by Stella Meghie

Everything, Everything

What if you couldn’t touch anything in the outside world? Never breathe in the fresh air, feel the sun warm your face, or kiss the boy next door? “Everything, Everything” tells the unlikely love story of Maddy (Amandla Stenberg), a smart, curious, and imaginative 18-year-old who due to an illness cannot leave the protection of the hermetically sealed environment within her house, and Olly (Nick Robinson), the boy next door who won’t let that stop them. Maddy is desperate to experience the much more stimulating outside world, and the promise of her first romance. Gazing through windows and talking only through texts, she and Olly form a deep bond that leads them to risk everything to be together… even if it means losing everything.

Wakefield” — Written and Directed by Robin Swicord


Who among us has never wanted to walk away from it all? It is a cold fact of modern life that, some days, everything becomes too much. For Howard Wakefield (Bryan Cranston), New York City lawyer, husband, and father of two, the overwhelming impulse to just leave arises one night as he stands in his own suburban driveway. Howard, however, does not run far. Inspired (or led?) by a raccoon, he enters the attic of his two-car garage, and proceeds to hide there for weeks.

Paint It Black” — Co-Written and Directed by Amber Tamblyn

Paint it Black

Paint It Black” is the story of the aftermath of Michael’s (Rhys Wakefield) death, and Josie’s (Alia Shawkat) struggle to hold onto the true world he shared with her. As Josie searches for the key to understanding his death, she finds herself both repelled and attracted to Michael’s pianist mother, Meredith (Janet McTeer), who holds Josie responsible for her son’s torment. Soon, the two women find themselves drawn into a twisted relationship reflecting equal parts distrust and blind need.

Icaros: A Vision” — Co-Written and Co-Directed by Leonor Caraballo (Opens in NY)

Icaros: A Vision

Her medical options exhausted, an American woman (Ana Cecilia Stieglitz) travels to the Amazon in search of a miracle. Thanks to a young ayahuasca shaman who is losing his eyesight, she learns instead to confront her “susto”: the disease of fear.

Champion” — Written by Missy Reed and Sarah Inabnit

Dirt track racer Sean Weathers (Andrew Cheney) was at the top of his game — an unstoppable career, scores of fans, and an adoring daughter. When a rivalry with another racer turns personal, the ego that propelled him to success causes a tragedy, sending his life into a tailspin. Jack Reed (Gary Graham) was attempting to make up for past mistakes. He had prospered as a businessman but failed as a family man. In a sudden turn of events, his chances for reconciliation are ripped from his grasp. Sean and Jack’s lives collide, and an unexpected bond forms between them. Working through a painful journey of healing together, they each learn about second chances and the true freedom only forgiveness can offer.

“The Woman Who Left” (Opens in NY)

“The Woman Who Left” tells the story of Horacia Somorostro (Charo Santos), a woman seeking revenge after being convicted for decades for a crime she didn’t commit.

May 24

Restless Creature: Wendy Whelan” (Documentary) — Co-Directed by Linda Saffire (Opens in NY)

Restless Creature: Wendy Whelan

Restless Creature: Wendy Whelan” offers an intimate portrait of prima ballerina Wendy Whelan as she prepares to leave New York City Ballet after a record-setting three decades with the company. As the film opens, Whelan is 46, battling a painful injury that has kept her from the ballet stage, and facing the prospect of her impending retirement from the company. What we see, as we journey with her, is a woman of tremendous strength, resilience, and good humor. We watch Whelan brave the surgery that she hopes will enable her comeback to Nycb and we watch her begin to explore the world of contemporary dance, as she steps outside the traditionally patriarchal world of ballet to create “Restless Creature,” a collection of four contemporary vignettes forged in collaboration with four young choreographers.

May 26

Berlin Syndrome” — Directed by Cate Shortland

Berlin Syndrome

While holidaying in Berlin, Australian photojournalist Clare (Teresa Palmer) meets charismatic local man Andi (Max Riemelt). There is an instant attraction between them, and a night of passion ensues. But what initially appears to be the start of a romance suddenly takes an unexpected and sinister turn when Clare wakes the following morning to discover Andi has left for work and locked her in his apartment. An easy mistake to make, of course, except Andi has no intention of letting her go again.

May 2017 Film Preview was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Film Festival Roundup: Montclair Announces Full Program, New York African Film Festival Returns, Full Frame Opens and More

Film Festival Roundup: Montclair Announces Full Program, New York African Film Festival Returns, Full Frame Opens and More
Keep up with the always-hopping film festival world with our weekly Film Festival Roundup column. Check out last week’s Roundup right here.

Lineup Announcements

– Montclair Film has announced the full program for the 6th annual Montclair Film Festival (Mff), taking place April 28 – May 7, 2017 in Montclair, NJ and featuring over 150 films, events, discussions, and parties, with over 150 filmmakers and industry guests attending. Highlights include “Casting JonBenet,” “Strong Island,” “Lady Macbeth,” “Menashe” and “Beach Rats.”

“This year, we have been fortunate to find filmmakers who are making work that gives depth and shape to the vital conversations of our time,” said Montclair Film Executive Director Tom Hall. “The festival is an opportunity for bringing audiences together with these incredible artists, so that, together, we can enjoy and engage with the images, ideas, and insights that are illuminated in these wonderful films.” Check out the full lineup right here.

– The Film Society
See full article at Indiewire »

Women-Directed Features “Polina” and “The Drowning” Acquired

The Drowning”: Paladin

Two new women-directed films have found homes. Deadline reports that Oscilloscope Laboratories snagged the North American rights to Valérie Müller and Angelin Preljocaj’s “Polina,” a ballet drama starring Juliette Binoche (“The Clouds of Sils Maria”), and Paladin and Electric Entertainment have acquired the rights to Bette Gordon’s psychological thriller “The Drowning,” led by Julia Stiles (“Bourne” franchise) and Josh Charles (“The Good Wife”).

“Polina” made its world premiere at the 2016 Venice Film Festival. Penned by Müller (“Le monde de Fred”), the French film “centers on Polina (Anastasia Shevtsova), a promising classical ballet dancer who is just about to join the prestigious Bolshoi Ballet when she discovers contemporary dance, a revelation that throws everything into question,” Deadline writes. After moving to France to work with a famous choreographer Liria Elsaj (Binoche), Polina is confronted by the fact that “determination and hard work don’t always lead to success.” The co-director of the film, Preljocaj, is a dancer and choreographer herself. Everybody’s on Deck’s Gaëlle Bayssière and Didier Creste produced the project.

Binoche has signed on to writer-director Mia Hansen-Løve’s follow-up to “Things to Come,” “Maya.” The film centers on a French war reporter (Roman Kolinka, “Eden”) dealing with the trauma of having been taken hostage in Syria. The Oscar winner’s next feature, “Ghost in the Shell,” hits theaters March 31. Scarlett Johansson stars as a cyborg in the big-budget sci-fi story.

The Drowning” debuted at the 2016 Warsaw Film Festival and opened the Los Angeles Women’s International Film Festival earlier this month. The film follows “a forensic psychologist (Charles) who is haunted by his expert witness testimony that sent a young boy to prison for a chilling murder. When the boy later reappears in his life, he is drawn into a destructive, soul-searching reinvestigation of the case,” the source summarizes. “Elizabeth Kling, Subi Liang, Ho-Cheung Pang exec produced and Radium Cheung, Daniel L. Blanc, Jamin O’Brien are producers.”

Gordon’s directing credits include “Handsome Harry,” “Luminous Motion,” and “Variety.” Next up for Stiles is “Smash” creator Theresa Rebeck’s “Trouble,” an indie comedy about feuding siblings played by Anjelica Huston and Bill Pullman.

Women-Directed Features “Polina” and “The Drowning” Acquired was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

The Orchard acquires 'The Young Karl Marx'

Distributor plots theatrical release for autumn. Separately, FilmRise acquires Marjorie Prime, Gravitas Ventures takes California Typewriter, Oscilloscope picks up Polina and Summer 1993, and Paladin and Electric Entertainment acquire The Drowning.

The Orchard has acquired all Us distribution rights to Oscar-nominee Raoul Peck’sThe Young Karl Marx.

Peck’s latest film premiered at the Berlinale in February on the heels of his Oscar nomination for the documentary I Am Not Your Negro.

Directed, produced and co-written by Peck with Pascal Bonitzer, The Young Karl Marx explores the origins of the international socialist movement, the emergence of the Communist League and its founding document,The Communist Manifesto written by Marx and Friedrich Engels.

The film paints a portrait of the two young men who, with the support of Marx’s wife Jenny, passionately believed in the vision of a humane society and the revolutionary power of the abused and oppressed. The film stars August Diehl, Stefan Konarske and [link
See full article at ScreenDaily »

Film Acquisition Rundown: Fox Searchlight Buys ‘The Old Man and The Gun,’ Grasshopper Film Picks Up ‘Bronx Gothic’ and More

Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.

– Fox Searchlight will acquire the U.S., Canada and U.K. rights to to “The Old Man And The Gun,” Deadline reports. Director David Lowery’s drama stars Robert Redford, Casey Affleck, Sissy Spacek and Danny Glover and begins shooting on April 3.

Based on a true story, the film centers on bank robber and 17-time prison escapee Forrest Tucker (Redford). Affleck plays a detective obsessed with bringing Tucker to justice while Spacek plays Tucker’s love interest. The film is produced by Conde Nast Entertainment Wildwood Enterprises and Identity Films.

Read More: Film Acquisition Rundown: Neon Picks Up Errol Morris’ ‘The B-Side,’ FilmRise Gets Two Sundance Premieres and More

Grasshopper Film has acquired the U.S. rights
See full article at Indiewire »

Film Festival Roundup: Sun-Ray Cinema Unveils Sleeping Giant Fest, Sfiff Announces Closing Night and More

Film Festival Roundup: Sun-Ray Cinema Unveils Sleeping Giant Fest, Sfiff Announces Closing Night and More
Keep up with the always-hopping film festival world with our weekly Film Festival Roundup column. Check out last week’s Roundup right here.

Lineup Announcements

– Exclusive: Over the last five years, Jacksonville, Florida’s Sun-Ray Cinema has carved out a unique space for adventurous film programming while also reinventing how audiences enjoy blockbuster fare in Northeast Florida. Building on those successes, Sun-Ray has now unveiled their Sleeping Giant Fest. From March 30 – April 2, Sleeping Giant Fest promises to “open your eyes and perk your ears to work that often gets lost in the digital streams that dominate our viewing habits today.” The festival aims “to help you navigate an array of choices that often seems dizzying so you can immerse yourself in these so-called ‘less commercial’ films, repertory titles, and screenings with exciting special guests while enjoying the communal experience that the cinema provides.

With forty film and music events over four lively days,
See full article at Indiewire »

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