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Outfest Awards “Test”& “Born This Way” Top Prizes

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A scene from Chris Mason Johnson's Test.

Outfest, the Los Angeles LGBT Film Festival, unveiled its winners over the weekend. Chris Mason Johnson's Test won the U.S. Dramatic Feature prize, while Shaun Kadlec and Deb Tullman's Born This Way took the Grand Jury Award for Outstanding Documentary Feature, among the Jury Awards. In related news, Outfest and Film Society will unveil details about Newfest, the New York LGBT Film Festival, in the coming weeks.

Set in San Francisco in 1985 at the height of the AIDS crisis, Test focuses on a prestigious dance company as it deals with the spread of the disease and its impact on the lives of its performers. Born This Way, meanwhile, is a portrait of the underground LGBT community in Cameroon, spotlighting two young individuals as they move between a secret supportive gay and lesbian community and an intensely homophobic society that is nevertheless slowly moving toward greater acceptance.

Audience prizes went to Gary Entin's comedy Geography Club, about a group of high school students of varying sexual orientation who form an after-school club, and Linda Bloodworth-Thomason's Bridegroom, which spotlights a California couple's tragedy when the state's same sex law is passed and the subsequent death of one partner whose family refuses to allow his fiancé to attend the funeral.

Film Society of Lincoln Center and Outfest co-present the annual Newfest, New York's premiere LGBT film event, this year taking place September 6 - 11. The 2013 Outfest took place July 11 - 21. The event opened with Kyle Patrick Alvarez's C.O.G. and closed with Darren Stein's G.B.F.

The full list of Outfest winners follow with information provided by event:

Jury Awards

Grand Jury Award for Outstanding U.S. Dramatic Feature Film Sponsored by Radius-TWC: Test, Directed by Chris Mason Johnson

Grand Jury Award for Outstanding Documentary Feature Film: Born This Way, directed by Shaun Kadlec and Deb Tullman
 


Grand Jury Award for Outstanding International Dramatic Feature Film sponsored by The Los Angeles Athletic Club: It's All So Quiet, Directed by Nanouk Leopold
 


Grand Jury Award for Outstanding Actress in a Feature Film sponsored by Milbank Guinevere Turner, Who's Afraid Of Vagina Wolf?
 


Grand Jury Award for Outstanding Actor in a Feature Film: Bill Heck and Marcus DeAnda, Pit Stop
 


Grand Jury Award for Outstanding Screenwriting Sponsored by SXSW: Chris Mason Johnson, Test
 


Grand Jury Award for Outstanding Experimental Short Film: She Gone Rogue, directed by Zackary Drucker and Rhys Ernst
 
Grand

Jury Award for Outstanding Documentary Short Film: Performing Girl, directed by Crescent Diamond
 


Grand Jury Award for Outstanding Dramatic Short Film sponsored by CRE Computer and Audiovisual Solutions: Going South, directed Leesong Hee-il 
 


Audience Awards

Audience Award for Outstanding First U.S. Dramatic Feature Film sponsored by HBO (cash prize of $5,000 from HBO): Geography Club, directed by Gary Entin

Audience Award for Outstanding Documentary Feature Film sponsored by CNN Films: Bridegroom, directed by Linda Bloodworth-Thomason
 


Audience Award for Outstanding Dramatic Feature Film: Reaching For the Moon, directed by Bruno Barreto
 


Audience Award for Outstanding Documentary Short Film Sponsored by Ramada Plaza Hotel, West Hollywood: Facing Fear, directed by Jason Cohen
 


Audience Award for Outstanding Dramatic Short Film sponsored by Yellow Cab: Wini + George, directed by Benjamin Monie

Special Programming Awards
 


Special Programming Award for Freedom: Deepsouth, directed by Lisa Biagiotti
 


Special Programming Award for Artistic Achievement: Animals, directed by Marçal Forés
 


Special Programming Award for Emerging Talent: Diego Ruiz, Writer/Director/Actor




Locarno Lineup Spotlights American and World Cinema

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A scene from Baltasar Kormákur's Two Guns

The Locarno Film Festival recently unveiled its full lineup of competition films and galas for the event taking place next month. The international premiere of Baltasar Kormákur's Two Guns with Denzel Washington and Mark Wahlberg will open the 66th edition of the festival in its open air Piazza Grande, one of 16 films that will screen at the festival's lakeside 8,000-seat open air cinema. The film revolves around a DEA agent and undercover Naval Intelligence officer who are investigating one another, but find out they have been set up by the mob. The film will usher the festival's lineup, programmed under the leadership of the festival's new Artistic Director Carlo Chatrian.

This year's program includes the 20-film international competition, of which 18 are world premieres. The festival will also present films spotlighting contemporary cinema, shorts and more. As previously announced, the festival will present a retrospective of George Cukor in conjunction with the Film Society of Lincoln Center. That program will then head to New York in December.

Highlights from the International Competition include the World Premiere of Daniel and Diego Vega's El Mudo, Spanish director Albert Serra's Story of My Death, Swiss/French production Mary, Queen of Scots by Thomas Imbach, Japanese director Kiyoshi Kurosawa's latest Real, and the International Premiere of Destin Cretton's Short Term 12, which won the jury prize at the SXSW Film Festival in March. Pascal Plisson's On the Way to School (Sur le chemin de l'école) will close out the festival, which takes place August 7 - 17 in Switzerland. The festival typically screens titles that later appear at fall film festivals in North America.

"I think of Locarno as a frontier festival," Chatrian wrote in an introduction of the lineup. "A festival that tries to explore what’s going on at the limits of the fi lm spectrum, on the edges of the frame, to pick up the things that are just off camera but which somehow define the scene. Today the significance of the notion of being avant-garde has perhaps worn a little thin: it’s no longer about being the first to reach a particular spot, it’s more a question of the desire and ability to give space and visibility to neglected or insufficiently regarded films, filmmakers and film industries.

Film Society will be in attendance to co-host, alongside Indiewire, the Critics Academy for the second time this year, mentoring nine aspiring film critics attending Locarno.

Locarno's Competition, Piazza Grande Galas and emerging filmmakers sections follow with information provided by the festival.

Concorso Internazionale - a panorama of contemporary auteur cinema where young talent rubs shoulders with that of established directors. A jury of major figures in cinema is charged with choosing one of the 20 competing fiction or documentary features from all over the world, screened as world or international premieres, to win the prestigious Pardo d'oro.

E AGORA? LEMBRA-ME (What Now? Remind Me) by Joaquim Pinto 
Portugal – 2013 – 164 min. 
with Joaquim Pinto, Nuno Leonel 
Production: C.r.i.m. 
Co-production: Presente edições de autor lda. 
World Sales: C.r.i.m. 

World Premiere

EDUCAÇÃO SENTIMENTAL (Sentimental Education) by Júlio Bressane 
Brazil – 2013 – 84 min. 
with Josie Antello, Bernardo Marinho, Débora Olivieri 

Production: República Pureza Filmes Ltda, TB Producões 
World Sales: Ludwig Maia ArtHouse 

World Premiere

EL MUDO by Daniel and Diego Vega 
Peru/France/Mexico – 2013 – 86 min. 
with Fernando Bacilio, Lidia Rodríguez, Juan Luis Maldonado, Augussto Varillas, José Luis Gómez, Norka Ramírez, Ernesto Ráez 

Production: Maretazo Cine 
Co-production: Urban Factory, Nodream Cinema 
World Sales: UDI - Urban Distribution International 

World Premiere

EXHIBITION by Joanna Hogg 
United Kingdom – 2013 – 105 min. 
with Viv Albertine, Liam Gillick, Tom Hiddleston 

Production: Wild Horses Film Company Limited 

World Premiere

FEUCHTGEBIETE by David Wnendt 
Germany – 2013 – 109 min. 
with Carla Juri, Christoph Letkowski, Meret Becker, Axel Milberg, Marlen Kruse, Peri Baumeister, Edgar Selge, Harry Baer 

Production: Rommel Film 
Co-production: ZDF 
World Sales: The Match Factory 
Swiss distributor: Filmcoopi Zürich 

World Premiere

GARE DU NORD by Claire Simon 
France/Canada – 2013 – 119 min. 
with Nicole Garcia, Reda Kateb, François Damiens, Monia Chokri

Production: Les Films d'Ici 
Co-production: France 3 cinema, Productions thalie 
World Sales: Les Films d'Ici 

World Premiere

HISTORIA DE LA MEVA MORT (Story of My Death) by Albert Serra 
Spain/France – 2013 – 140 min. 
with Vincenc Altaio Morral, Lluis Massanellas Serrat, Clara Visa, Noelia Rodenas, Jordi Pau Costa

Production: Andergraun Films 
Co-production: Capricci Films 
World Sales: Capricci Films 

World Premiere

L’ÉTRANGE COULEUR DES LARMES DE TON CORPS (The Strange Colour of Your Body’s Tears) by Hélène Cattet and Bruno Forzani 
Belgium/France/Luxembourg – 2013 – 102 min. 
with Klaus Tange, Jean-Michel Vovk, Sylvia Camarda, Sam Louwyck, Anna D’annunzio, Manon Beuchot 

Production: Anonymes Films, Tobina Film 
Co-production: Epidemic, Mollywood, Red lion 
World Sales: Bac Films 

World Premiere

MARY, QUEEN OF SCOTS by Thomas Imbach 
Switzerland/France – 2013 – 120 min. 
with Camille Rutherford, Mehdi Dehbi, Aneurin Barnard, Sean Biggerstaff, Edward Hogg, Tony Curran 

Production: OKOFILM Productions 
Co-production: SRF, SRG SSR, ARTE G.E.I.E. 
Swiss distributor: Pathé Suisse 

World Premiere

PAYS BARBARE by Yervant Gianikian and Angela Ricci Lucchi 
France – 2013 – 65 min. 
Documentary 

Production: Les Films d’Ici 

World Premiere

REAL by Kiyoshi Kurosawa 
Japan – 2013 – 127 min. 
with Takeru Satoh, Haruka Ayase 

Production: Twins Japan inc. 
World Sales: TBS - Tokyo Broadcasting System Television 

International Premiere

SANGUE by Pippo Delbono 
Italy/Switzerland – 2013 – 89 min. 
with Pippo Delbono, Margherita Delbono, Giovanni Senzani, Anna Fenzi, Bobò, Coro e orchestra del Teatro San Carlo di Napoli 

Production: Compagnia Pippo Delbono, Casa Azul Films 
Co-production: Cinémathèque suisse, RSI Radiotelevisione svizzera, Vivo Films with Rai Cinema 

World Premiere

SHORT TERM 12 by Destin Cretton 
United States – 2013 – 96 min. 
with Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek, Keith Stanfield, Kevin Hernandez 
Production: Animal Kingdom, Traction Media 
World Sales: Memento Films International

International Premiere

SHU JIA ZUO YE (A Time in Quchi) by Tso chi Chang 
Taiwan – 2013 – 109 min. 
with Liang-Yu Yang, Yun-Loong Kuan, Ya-Ruo Lin, Yung-Heng Yen, Shaoyi Jiang, Han-Yi Yao, Chi-Han Chen 

Production: Chang tso chi film studio 

World Premiere

TABLEAU NOIR (Black Board) by Yves Yersin 
Switzerland – 2013 – 117 min. 
Documentary 

Production: Ateliers Merlin Sàrl 
Co-production: Télévision Suisse SSR - TSR 
Swiss distributor: Filmcoopi Zürich 

World Premiere

TOMOGUI (Backwater) by Shinji Aoyama 
Japan – 2013 – 102 min. 
with Masaki Suda, Misaki Kinoshita, Yukiko Shinora, Ken Mitsuishi, Yuko Tanaka 
Production: Stylejam Inc. 
World Sales: Rezo Films 

World Premiere

TONNERRE by Guillaume Brac 
France – 2013 – 106 min. 
with Vincent Macaigne, Solène Rigot, Bernard Menez 

Production: Rectangle Productions 
Co-production: Wild Bunch, France 3 Cinema 
World Sales: Wild Bunch 
First Feature
World Premiere


U RI SUNHI (Our Sunhi) by Sangsoo Hong 
South Korea – 2013 – 88 min. 
with Yumi JUNG, Sunkyun LEE, Sangjoong KIM, Jaeyoung JUNG 

Production: Jeonwonsa Film Co. 
World Sales: Finecut Co., Ltd. 

World Premiere

UNE AUTRE VIE by Emmanuel Mouret 
France – 2013 – 95 min. 
with Joey Starr, Virginie Ledoyen, Jasmine Trinca 

Production: Moby Dick Films 
World Sales: Kinology 

World Premiere

WHEN EVENING FALLS ON BUCHAREST OR METABOLISM (Când se lasă seara peste Bucureşti sau metabolism) by Corneliu Porumboiu 
Romania – 2013 – 93 min. 
with Bogdan Dumitrache, Diana Avramut, Mihaela Sirbu, Alexandru Papadopol 

Production: 42 KM FILM 
Co-production: Les Films du Worso 
World Sales: Wild Bunch 

World Premiere

Piazza Grande - is the heart of the Festival and its showcase. With its giant screen, one of the biggest in Europe, endowed with truly exceptional projection quality, the Piazza Grande is one of the finest open-air venues in the world. An enormous space that can seat an audience of up to 8,000 and makes every screening a unique event. The programming on the Piazza Grande offers prestigious screenings, most of them world, international or European premieres.

2 GUNS by Baltasar Kormákur 
United States – 2013 – 109 min. 
with Denzel Washington, Mark Wahlberg, Paula Patton, Bill Paxton, James Marsden, Edward James Olmos 
Production: Marc Platt, Randall Emmett, Norton Herrick, Adam Siegel, George Furla, Ross Richie and Andrew Cosby, 
Co-production: Universal Pictures, Emmett/Furla Film 
World Sales: Foresight 
Swiss distributor: The Walt Disney Company (Switzerland) GmbH

International Premiere - Opening Film


VIJAY AND I by Sam Garbarski 
Belgium/Luxembourg/Germany – 2013 – 96 min. 
with Moritz Bleibtreu, Patricia Arquette, Danny Pudi 
Production: Entre Chien et Loup, Samsa Film 

Co-production: Pandora Film, Fédération Wallonie-Bruxelles, Bruxellimage, RTBF (Belgian television) 
World Sales: The Match Factory 
Swiss distributor: Xenix Film 

World Premiere


LA VARIABILE UMANA (The Human Factor) by Bruno Oliviero 
Italy – 2013 – 83 min. 
with Silvio Orlando, Giuseppe Battiston, Sandra Ceccarelli, Alice Raffaelli 

Production: Lumière & Co Srl, Invisibile Film, Rai Cinema 
World Sales: Intramovies

World Premiere

WRONG COPS by Quentin Dupieux 
France/United States – 2012 – 94 min. 
with Mark Burnham, Marilyn Manson, Grace Zabriskie

Production: Realitism Films 
Co-production: Rubber Films, CTB Film Company 
World Sales: Le Pacte 
Swiss distributor: Praesens Film AG 

World Premiere

WE’RE THE MILLERS by Rawson Marshall Thurber 
United States – 2013 – 111 min. 
with Jason Sudeikis, Jennifer Aniston, Emma Roberts, Nick Offerman, Kathryn Hahn, Will Poulter, Ed Helms 
Presentation: New Line Cinema 
Production: New Line Cinema, Newman/Tooley Films, Slap Happy
Productions, Heyday Films, Bender-Spink 
World Sales: Warner Bros. Pictures
Swiss distributor: Warner Bros. (Transatlantic) Inc., Schweiz

International Premiere


THE KEEPER OF LOST CAUSES · JUSSI ADLER-OLSEN (Kvinden i buret) by Mikkel Nørgaard 
Denmark/Germany/Sweden – 2013 – 97 min. 
with Nikolaj Lie Kaas, Fares Fares, Sonja Richter, Mikkel Boe Følsgaard, Søren Pilmark, Troels Lyby 

Production: Zentropa Entertainments 20 ApS 
Co-production: Zentropa Entertainments Berlin GmbH, Zentropa International Sweden AB 
World Sales: TrustNordisk 
Swiss distributor: Frenetic Films AG 

World Premiere


LES GRANDES ONDES (À L’OUEST) (Longwave) by Lionel Baier 
Switzerland/France/Portugal – 2013 – 85 min. 
with Valérie Donzelli, Michel Vuillermoz, Patrick Lapp, Francisco Belard, Jean-Stéphane Bron 

Production: Rita Productions, Les Films Pelléas, Bande à part Films 
Co-production: Filmes do Tejo II, RTS Radio Télévision Suisse 
World Sales: Films Boutique 
Swiss distributor: Pathé Suisse 

World Premiere


RICH AND FAMOUS by George Cukor 
United States – 1981 – 117 min. 
with Jacqueline Bisset, Candice Bergen, David Selby, Hart Bochner, Steven Hill 

Production: Metro-Goldwyn-Mayer 
Retrospettiva George Cukor


GABRIELLE by Louise Archambault 
Canada – 2013 – 102 min. 
with Gabrielle Marion-Rivard, Alexandre Landry, Mélissa Désormeaux-Poulin, Vincent-Guillaume Otis, Robert Charlebois 

Production: Micro_Scope 
World Sales: eOne Films International 
Swiss distributor: Agora Films

World Premiere


L’EXPÉRIENCE BLOCHER by Jean-Stéphane Bron 
Switzerland/France – 2013 – 100 min. 
Documentary 

Production: Bande à part Films, Les Films Pelléas 
Co-production: Radio Télévision Suisse,  SSR SRG 
World Sales: Les Films du Losange 
Swiss distributor: Frenetic Films AG 
World Premiere


GLORIA by Sebastián Lelio 
Chile – 2012 – 110 min. 
with Paulina García, Sergio Hernández 
Production: Fabula 
World Sales: Funny Balloons 
Swiss distributor: Filmcoopi Zürich AG

MR. MORGAN’S LAST LOVE by Sandra Nettelbeck 
Germany/Belgium – 2013 – 116 min. 
with Michael Caine, Clémence Poésy, Justin Kirk, Jane Alexander, Gillian Anderson 
Production: Bavaria Pictures GmbH, Kaminski.Stiehm.Film GmbH, Senator Film Köln 
Co-production: Scope Pictures, MMLL GmbH & Co. KH, Eberhard Müller Filmproduktion, A-Films Belgium 
World Sales: Global Screen GmbH 
Swiss distributor: Praesens-Film AG


BLUE RUIN by Jeremy Saulnier 
United States – 2013 – 92 min. 
with Macon Blair, Devin Ratray, Amy Hargreaves, Kevin Kolack, Eve Plumb 
Production: Filmscience

World Sales: Memento Films International 
Swiss distributor: Praesens-Film AG


ABOUT TIME by Richard Curtis 
United Kingdom – 2013 – 123 min. 
with Domhnall Gleeson, Rachel McAdams, Bill Nighy, Tom Hollander 

Production: Working Title Films 
World Sales: Universal Pictures International 
Swiss distributor: Universal Pictures International Switzerland

FITZCARRALDO by Werner Herzog 
Germany/Peru – 1982 – 157 min. 
with Klaus Kinski, Claudia Cardinale, José Lewgoy, Huerequeque Enrique Bohorquez, Paul Hittscher 
Production: Werner Herzog Filmproduktion 
Co-production: Zweites Deutsches Fernsehen (ZDF) 
World Sales: Werner Herzog Film 
Pardo d’onore Swisscom to Werner Herzog


SUR LE CHEMIN DE L’ÉCOLE (On The Way to School) by Pascal Plisson 
France – 2013 – 77 min. 
Documentary 
Production: Winds 
Co-production: Herodiade, Ymagis 
World Sales: Wild Bunch 
Swiss distributor: Praesens Film AG

International Premiere - Closing Film

Concorso Cineasti del present - is dedicated to emerging directors from all over the world and devoted to first and second features. 16 feature films screening as world or international premieres, from documentary to fiction, compete for the Pardo d'oro Cineasti del presente.

BUQƏLƏMUN (Chameleon) by Elvin Adigozel and Ru Hasanov 
Azerbaijan/France/Russia – 2013 – 72 min. 
with Farid Bahramov, Emin Seyfulla, Elvin Adigozel, Mubariz Khalilov, Vali Ibadov 

Production: Adari films 
Co-production: Arizona Productions, Vita aktiva 
World Sales: Arizona Productions 
First Feature
World Premiere


COSTA DA MORTE (Coast of Death) by Lois Patiño 
Spain – 2013 – 80 min. 
Documentary 

Production: Zeitun films 
First Feature
World Premiere

FORTY YEARS FROM YESTERDAY by Robert Machoian and Rodrigo Ojeda-Beck 
United States – 2013 – 80 min. 
with Chelsea Word, Bruce Graham, Rebekah Mott, Elizabeth Overton, Matthew Valdez 

Production: Four thirty-three pictures, Paper Moon Films 
First Feature
International Premiere

L'HARMONIE (Harmony) by Blaise Harrison 
France/Switzerland – 2013 – 60 min.

Production: Les Films du Poisson 
Co-production: Bande à part Films 
World Sales: Doc&Film 
First Feature
World Premiere

LE SENS DE L'HUMOUR (Sense of Humor) by Marilyne Canto 
France – 2013 – 89 min. 
with Marilyne Canto, Antoine Chappey, Samson Dajczman 

Production: Christmas in July 
World Sales: Films Distribution 
First Feature
World Premiere



LOS INSÓLITOS PECES GATO (The Amazing Cat Fish) by Claudia Sainte-Luce 
Mexico – 2013 – 87 min. 
with Ximena Ayala, Lisa Owen, Sonia Franco, Wendy Guillén, Andrea Baeza 

Production: Canibal Networks 
World Sales: Pyramide International
Swiss distributor: Cineworx
First Feature
World Premiere


MANAKAMANA by Stephanie Spray and Pacho Velez 
Nepal – 2013 – 117 min. 
Documentary 
Production: Sensory Ethnography Laboratory 
First Feature - World Premiere

MOUTON by Gilles Deroo and Marianne Pistone 
France – 2012 – 100 min. 
with David Merabet, Michael Mormentyn, Cindy Dumont, Benjamin Cordier, Emmanuel Legrand 
Production: BOULE DE SUIF production 
First Feature
World Premiere

ROXANNE by Valentin Hotea 
Romania/Hungary – 2013 – 97 min. 
with Șerban Pavlu, Diana Dumbravă, Mihai Călin, Adrian Văncică, Valeria Seciu 

Production: Hi Film Productions 
Co-production: Abis Studio, Cor Leonis Ltd. 
World Sales: Films Boutique 

First Feature - World Premiere


SAI NAM TID SHOER (By the River) by Nontawat Numbenchapol 
Thailand – 2013 – 71 min. 

Production: Mobile lab project co.ltd, Ok-pi-dern co.ltd 

World Premiere

THE DIRTIES by Matt Johnson 
Canada/United States – 2013 – 83 min. 
with Matt Johnson, Owen Williams, Krista Madison, David Matheson 

Production: 7800002 canada inc. 
Co-production: Xyz films 

First Feature - International Premiere


THE SPECIAL NEED by Carlo Zoratti 
Germany/Italy – 2013 – 82 min. 
Documentary

Production: DETAiLFILM 
Co-production: Videomante

First Feature - World Premiere


THE STONE by Se-rae CHO 
South Korea – 2013 – 113 min. 
with Dong-in CHO, Roi-ha KIM, Won-sang PARK 

Production: SHINE PICTURES 
World Sales: FINECUT CO., LTD 

First Feature - World Premiere

THE UGLY ONE by Eric Baudelaire 
France/Lebanon/Japan – 2013 – 101 min. 
with Rabih Mroué, Juliette Navis, Manal Khader 

Production: Poulet-Malassis 

World Premiere

THE UNITY OF ALL THINGS 物之合 by Alexander Carver and Daniel Schmidt
United States – 2013 – 97 min. 
with Jennifer Kim, Szeming Celia Au, Andrea Chen, Teresa Hui, Haruka Hashimoto 

Production: Alex Carver and Daniel Schmidt

First Feature - World Premiere

YUAN FANG (Distant) by Zhengfan Yang
China – 2013 – 88 min. 
with Shaokai Chen, Tuzhen Chen, Jiayan He, Yuanhao Luo, Cheng Chen 

Production: Burn the Film Production House 

First Feature - World Premiere

TIFF Unveils Initial Galas & Special Presentations

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A scene from Bill Condon's opening night TIFF film, The Fifth Estate.

Organizers of the Toronto International Film Festival unveiled details of about one-fourth of its roughly 300 film slate Tuesday morning, including Galas, Special Presentations and its Opening and Closing titles. Today's announcement heralds the busy fall festival season with a glimpse at films that will compete for awards. The 38th edition of TIFF will open September 5 with the World Premiere of Bill Condon's The Fifth Estate, a dramatic thriller based on real events surrounding one of the 21st century's most controversial organizations, WikiLeaks. The film stars Daniel Bruhl and Benedict Cumberbatch as WikiLeaks founder, Julian Assange. The festival will close with the World Premiere of Daniel Schechter's crime story Life of Crime based on the Elmore Leonard novel The Switch. The film stars Jennifer Aniston, John Hawkes, yasiin bey (a.k.a. Mos Def), Isla Fisher, Will Forte, Mark Boone Jr, and Tim Robbins.

The festival regularly attracts a powerful contingent of stars and this year's announced Galas and Special Presentations include a host of veteran American and international actors and filmmakers. Some of today's anticipated films to watch for include stories from around the world that will likely dominate the fall's theatrical offerings.

John Wells' anticipated August: Osage County starring Meryl Streep, Julia Roberts, Ewan McGregor and Benedict Cumberbatch received first billing in today's presentation by TIFF heads Piers Handling and Cameron Bailey as the initial trailer played during a press conference in Toronto. The film tells the dark and hilarious story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them.

Mandela: Long Walk to Freedom, based on the former South African President Nelson Mandela's autobiography of the same name, stars Justin Chadwick, chronicling the revered leader's early life, coming of age, education and 27 years in prison before leading his country out of Apartheid. Two-time Oscar winner Ron Howard's Rush, billed as a "spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl)," will also screen as a Gala.


Steve McQueen's 12 Years a Slave

Steve McQueen's 12 Years a Slave will screen in TIFF's Special Presentations section. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt and Paul Giamatti, the film tells the true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853.

Another anticipated fall film is Matthew McConaughey's Dallas Buyers Club by Jena-Marc Vallée. Described as a "fact-based drama," the story centers on real-life electrician Ron Woodroof, who was diagnosed with HIV in 1985 and given 30 days to live. With medications still restricted in the US and the country still divided over how to combat the virus, Ron procured non-toxic alternative treatments from all over the world through both legal and illegal means.

Nicole Holofcener's Enough Said stars Julia Louis Dreyfus as divorced soon-to-be empty-nester Eva who meets Marianne (Catherine Keener), whom she sees as the embodiment of her perfect self. With a restored outlook on being middle-aged and single, Eva decides to take a chance on her new love interest Albert (James Gandolfini), but things get complicated when Eva discovers that Albert is in fact the dreaded ex–husband of Marianne.

Ralph Fiennes returns to the director's chair with the World Premiere of The Invisible Woman. The film stars Felicity Jones as Nelly, a happily-married mother and schoolteacher who is whisked into the world of Charles Dickens (Fiennes), becoming his muse and the focus of his passion.


Kiyoshi Kurosawa's Real

Labor Day from Jason Reitman will screen in Special Presentations. Starring Kate Winslet, Josh Brolin, Gattlin Griffith, Tobey Maguire and James Van Der Beek, the film revolves around 13 year old Henry Wheeler, who struggles with adolescence while also being the man of the house and caring for his reclusive mother, Adele. They meet a man in need of help and decide to take him in, later learning he's an escaped convict.

Kiyoshi Kurosawa returns to the big screen with Real, centered on two lovers who have known each other their whole lives. Atsumi tries to commit suicide and slips into a coma. Through "sensing," a type of neurological treatment allowing communication with a comatose patient, Koichi tries to find out why she tried to kill herself.

The festival will also boast the North American debut of Jim Jarmusch's Only Lovers Left Alive, a very different type of vampire movie set against the desolation of Detroit and Tangier, where an underground musician, dissatisfied with the state of the world, reunites with his resilient and enigmatic lover. The film stars Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt and Anton Yelchin.

Paul Haggis will present the World Premiere of his latest, Third Person, centered on love, passion, mystery, betrayal and hope. The film follows the interrelated stories of three couples in three cities, Rome, New York and Paris, each containing secrets. Third Person stars Liam Neeson, Mila Kunis, Adrien Brody, James Franco, Olivia Wilde, Maria Bello, Kim Basinger and Moran Atias.

"We really don't like to boast, but it's a really great lineup," TIFF Artistic Director Cameron Bailey said at today's press conference. "This first round of films offers a taste of the powerhouse lineup at this year’s Festival," said TIFF CEO Piers Handling in a statement. "These are the works that will have everyone talking because they capture the mood of the times. They will captivate, excite and entertain the global film community and audiences alike."

Today's announced films with descriptions provided by TIFF:

Galas

American Dreams in China Peter Ho-Sun Chan, Hong Kong/China North American Premiere
1985. In the midst of China’s economic reform period, three college students — an overzealous hillbilly who refuses to accept his destiny of being a farmer; a cynical intellectual with a superiority complex; and a romantic idealist who wants to be a movie star — bond through a shared fascination with Western literature, music and movies, and an ambition to live the American dream. This sets the three on a roundabout course toward the foundation of a wildly successful English-language tutorial institute — but sudden fame and fortune could tear the friends and their vision apart.

The Art of the Steal Jonathan Sobol, Canada World Premiere
Crunch Calhoun, a third-rate motorcycle daredevil and part-time art thief, teams up with his snaky brother to steal one of the most valuable books in the world. But it's not just about the book for Crunch — he's keen to rewrite some chapters of his own past as well. Starring Jay Baruchel, Matt Dillon, Kurt Russell, Terence Stamp, Katheryn Winnick, Chris Diamantopoulos, Kenneth Welsh and Jason Jones.

August: Osage County John Wells, USA World Premiere
August: Osage County tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Based on Tracy Letts’ Pulitzer Prize– and Tony Award–winning 2007 play of the same name. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Benedict Cumberbatch, Abigail Breslin, Sam Shepard and Chris Cooper.

Cold Eyes Cho Ui-seok and Kim Byung-seo, South Korea North American Premiere
A veteran leader of the Special Crime Department Surveillance Team, and a rookie female detective with gifted powers of reasoning, keep a close watch over a vicious criminal organization. After continuous surveillance and pursuit, they come close to arresting the organization but commit a fatal mistake. Starring Seol Kyung-gu, Jung Woo-sung, Han Hyo-joo, Lee Jun-ho and Jin Gyeong.

The Fifth Estate Bill Condon, USA World Premiere (Openign Film)
Triggering an age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. This dramatic thriller based on real events reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of modern time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them? The film also stars David Thewlis, Stanley Tucci, Laura Linney, Anthony Mackie and Dan Stevens.

The Grand Seduction Don McKellar, Canada World Premiere
The tiny Newfoundland outport of Tickle Head is set for financial salvation if they can secure a petrochemical plant. Their odds are slim, as a town doctor is needed to land the contract. When one candidate, Dr. Paul Lewis, lands in their lap, the town rallies to seduce him to stay beyond his one-month trial. Paul’s fondness for the village grows as the month passes — though he’s clueless to the fact that everything he has grown to love is an elaborate web of lies. Starring Brendan Gleeson, Taylor Kitsch, Gordon Pinsent, Liane Balaban and Mark Critch.

Kill Your Darlings John Krokidas, USA International Premiere
Kill Your Darlings is the true story of friendship and murder that led to the birth of an entire generation. This is the previously untold story of murder that brought together a young Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William Burroughs (Ben Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution. Also stars Dane DeHaan, Michael C. Hall, David Cross, Jennifer Jason Leigh, Elizabeth Olsen, Kyra Sedgwick and John Cullum.

Life of Crime Daniel Schechter, USA World Premiere
Based on the novel The Switch, by Elmore Leonard, Louis (John Hawkes) and Ordell (yasiin bey, a.k.a. Mos Def) — two common criminals in 1970s Detroit — kidnap the housewife (Jennifer Aniston) of a corrupt real estate developer (Tim Robbins) and hold her for ransom. Also stars Isla Fisher, Will Forte, and Mark Boone Jr.

The Love Punch Joel Hopkins, France World Premiere
Retirement at last! Middle-aged and divorced, company owner Richard Jones is looking forward to a worry-free existence as he arrives at his office on his last day of work. Much to his dismay, he discovers that the management buyout of his company was fraudulent. The company is now bankrupt and the employee pension fund — including his own — has been embezzled. Enlisting the help of his ex-wife Kate, Richard sets out to track down the shady businessman behind the fraud. Before they know it, Richard and Kate are caught up in a cat-and-mouse caper across Europe in a whirlwind of intrigue, mad chases and jewellery theft that could restore Richard’s future — and might just rekindle the couple’s romance. Starring Emma Thompson and Pierce Brosnan.

The Lunchbox Ritesh Batra, India/France/Germany North American Premiere
Middle class housewife Ila is trying once again to add some spice to her marriage, this time through her cooking. She desperately hopes this new recipe will finally arouse some kind of reaction from her neglectful husband. Unbeknownst to her, the special lunchbox she prepared is mistakenly delivered to miserable office worker Saajan, a lonely man on the verge of retirement. Curious about the lack of reaction from her husband, Ila puts a little note in the following day’s lunchbox which sparks a series of exchanged notes between Saajan and Ila. Evolving into an unexpected friendship between anonymous strangers, they become lost in a virtual relationship that could jeopardize both of their realities.

Mandela: Long Walk to Freedom Justin Chadwick, South Africa World Premiere
Mandela: Long Walk to Freedom is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education, and 27 years in prison before working to rebuild his country’s once-segregated society. Starring Idris Elba as Nelson Mandela, and Naomie Harris as Winnie Mandela.

Parkland Peter Landesman, USA North American Premiere
November 22nd, 1963 was a day that changed the world forever — when young American President John F. Kennedy was assassinated in Dallas, Texas. This film follows, almost in real time, a handful of individuals forced to make split-second decisions after an event that would change their lives and forever alter the world’s landscape: the young doctors and nurses at Parkland Hospital, the chief of the Dallas Secret Service, the unwitting cameraman who captured what has become the most watched and examined film in history, the FBI Agents who had gunman Lee Harvey Oswald within their grasp and Vice President Lyndon Johnson who had to take control of a country in a moment’s notice. Thrust into a scenario of unprecedented drama with unimaginable consequences, these key characters respond with shock, outrage, determination and courage. Woven together, their seemingly disparate perspectives make one of the most thrilling and powerful stories never told. Starring Paul Giamatti, Colin Hanks, Zac Efron, Billy Bob Thornton, Jacki Weaver and Marcia Gay Harden.

The Railway Man Jonathan Teplitzky, Australia/United Kingdom World Premiere
Based on the bestselling novel, The Railway Man tells the extraordinary and epic true story of Eric Lomax, a British Army officer who is tormented as a prisoner of war at a Japanese labour camp during World War II. Decades later, Lomax discovers that the Japanese interpreter he holds responsible for much of his treatment is still alive and sets out to confront him, and his haunting past. Starring Academy Award–winner Colin Firth, Jeremy Irvine, and Academy Award–winner Nicole Kidman, the film is a powerful tale of survival, love and redemption.

The Right Kind of Wrong Jeremiah Chechik, Canada World Premiere
The Right Kind of Wrong is a romantic comedy about a failed-writer-turned-dishwasher and fearless dreamer who risks everything to show the girl of his dreams all that is right with the wrong guy. Starring Ryan Kwanten, Sara Canning and Catherine O'Hara.

Rush Ron Howard, United Kingdom/Germany International Premiere
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams up once again with two-time Academy Award–nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush — a spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). Also features Olivia Wilde, Alexandra Maria Lara and Pierfrancesco Favino.

Shuddh Desi Romance Maneesh Sharma, India Canadian Premiere
Shuddh Desi Romance follows a fresh and very real love story about the hair-raising minefield between love, attraction and commitment. A romantic comedy that tells it like it is, providing a candid look at the affairs of the heart in today's desi heartland. Starring Rishi Kapoor, Sushant Singh Rajput, Parineeti Chopra and Vaani Kapoor.

Supermensch The Legend of Shep Gordon Mike Myers, USA World Premiere
In 1991, music manager Shep Gordon held Mike Myers over a barrel a few weeks before shooting Wayne’s World regarding an Alice Cooper song Myers wanted to use in the film. They have been close friends ever since. Twenty-two years later, the story of Gordon’s legendary life in the über-fast lane is now told in Myers’ directorial debut. And this time it’s Myers who has Gordon over a barrel. Shep Gordon: capitalist, protector, hedonist, pioneer, showman, shaman… Supermensch!

Special Presentations

12 Years a Slave Steve McQueen, USA World Premiere
12 Years a Slave tells the incredible true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853. The story is a triumphant tale of one man’s courage and perseverance to reunite with his family that serves as an important historical and cultural marker in American history. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Paul Giamatti, Scoot McNairy, Lupita Nyong'o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams and Alfre Woodard.

All Is By My Side John Ridley, United Kingdom World Premiere
Jimmy James, an unknown backup guitarist, left New York City for London, England in 1966. A year later he returned — as Jimi Hendrix. All Is By My Side brings authenticity and poignancy to the story of the man behind the legend, and of the people who loved and inspired him. Starring Imogen Poots, Hayley Atwell, André Benjamin, Ruth Negga and Adrian Lester.

Attila Marcel Sylvain Chomet, France World Premiere
Paul is in his 30s. An orphan since the age of two, he lives with his aunts in a Parisian apartment and leads a reclusive existence as a pianist. That is, until the day he meets Madame Proust.

Bad Words Jason Bateman, USA World Premiere
After discovering a loophole in the rules of the National Spelling Bee, a disruptive 40-year-old, Guy Trilby, dominates the pre-pubescent competition. An unlikely friendship occurs, however, when an awkward Indian boy is taken with Guy's rough edges. Meanwhile, a female reporter uncovers Guy's true motivation for competing. Starring Jason Bateman, Allison Janney, Phillip Baker Hall, Kathryn Hahn and Rohan Chand.

Belle Amma Asante, United Kingdom World Premiere
Belle is inspired by the true story of Dido Elizabeth Belle, the illegitimate bi-racial daughter of an aristocratic Royal Navy Admiral. Belle’s lineage affords her certain privileges, yet also prevents her from fully participating in the traditions of her social standing. Against the ridged boundaries of proper society, Belle finds both her true self and true romance — and influences her uncle to take a role in bringing an end to slavery. Starring Gugu Mbatha Raw, Tom Wilkinson, Sam Reid, Sarah Gadon, Miranda Richardson, Penelope Wilton, Tom Felton, James Norton, Matthew Goode and Emily Watson.

Blue Is the Warmest Color
Adèle: Chapters 1 & 2 Abdellatif Kechiche, France North American Premiere
At 15, Adèle doesn't question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and finds herself. Starring Léa Seydoux and Adèle Exarchopoulos.

Burning Bush Agnieszka Holland, Czech Republic North American Premiere
This epic, long-form docudrama chronicles the political, legal, and moral fallout that followed after Czech student protester Jan Palach set himself on fire in protest against government repression in 1969.

Can a Song Save Your Life? John Carney, USA World Premiere
Can a Song Save Your Life? finds Gretta (Keira Knightley) alone in New York City after being heartbroken by her musician boyfriend (Adam Levine). She finds laughter and rejuvenation with a down-on-his-luck record producer (Mark Ruffalo) who recognizes her musical talent and opens up an entire city of possibility for both of them.

Cannibal (Caníbal) Manuel Martín Cuenca, Spain/Romania/Russia/France World Premiere
Carlos is the most prestigious tailor in Granada, but he’s also a murderer in the shadows. He feels no remorse, no guilt, until Nina appears in his life. She will make him realize the true nature of his actions and, for the first time, love awakens. Carlos is evil incarnate. Nina is pure innocence. And Cannibal is a demon’s love story.

Dallas Buyers Club Jean-Marc Vallée, USA World Premiere
In this fact-based drama, Matthew McConaughey portrays real-life Texas electrician Ron Woodroof, an ordinary man who found himself in a life-or-death battle with the medical establishment and pharmaceutical companies. In 1985, Ron was blindsided with an HIV diagnosis and given 30 days to live. With medications still restricted in the US and the country still divided over how to combat the virus, Ron procured non-toxic alternative treatments from all over the world through both legal and illegal means. To avoid government sanctions against selling non-approved medicines and supplements, Ron established a “buyers club” for fellow HIV-positive people, giving them access to his supplies. Also stars Jennifer Garner and Jared Leto.

Devil's Knot Atom Egoyan, USA World Premiere
A haunting true mystery about the infamous killing of three children in a small Arkansas town. The police charge and convict three teens, aka the West Memphis Three, for committing the murders during an alleged satanic ritual, but a mother and investigator suspect that the truth may be even worse. Starring Reese Witherspoon, Colin Firth, Kevin Durand, Bruce Greenwood, Mireille Enos, Dane DeHaan and Stephen Moyer.

The Disappearance of Eleanor Rigby: Him and Her Ned Benson, USA
The Disappearance of Eleanor Rigby: Him and Her is a two-part love story seen through the eyes of a New York couple trying to understand each other as they cope with personal hardship. The different perspectives of “Him” and “Her” result in two films with a unique look into one couple's attempt to reclaim the life and love they once had. Starring Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciarán Hinds, Isabelle Huppert, William Hurt, and Jess Weixler.

Dom Hemingway Richard Shepard, United Kingdom World Premiere
Dom Hemingway is a larger-than-life safecracker with a loose fuse who is funny, profane, and dangerous. After 12 years in prison, looking to collect what he's owed for keeping his mouth shut for protecting his rich mobster boss, he finds himself drawn back to the perils and pleasures of his criminal lifestyle — while trying to reconnect with his estranged daughter. Starring Jude Law, Richard E. Grant, Demian Bichir, Emilia Clarke, Kerry Condon, Jumayn Hunter, Madalina Ghenea and Nathan Stewart-Jarrett.

Don Jon Joseph Gordon-Levitt, USA Canadian Premiere
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to "pull" a different woman every weekend, but even the finest fling doesn't compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she's determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.

The Double Richard Ayoade, United Kingdom World Premiere
Simon is a timid man, scratching out an isolated existence in an indifferent world. He is overlooked at work, scorned by his mother, and ignored by the woman of his dreams. The arrival of a new co-worker, James, serves to upset the balance. James is both Simon's exact physical double and his opposite — confident, charismatic and good with women. To Simon's horror, James slowly starts taking over his life. Starring Jesse Eisenberg, Mia Wasikowska, Wallace Shawn and Noah Taylor.

Enough Said Nicole Holofcener, USA World Premiere
Eva (Julia Louis-Dreyfus) is a divorced soon-to-be empty-nester wondering about her next act. Then she meets Marianne (Catherine Keener), the embodiment of her perfect self. Armed with a restored outlook on being middle-aged and single, Eva decides to take a chance on her new love interest Albert (James Gandolfini) — a sweet, funny and like-minded man. Things get complicated when Eva discovers that Albert is in fact the dreaded ex–husband of Marianne. This sharp insightful comedy follows Eva as she humorously tries to secretly juggle both relationships and wonders whether her new favourite friend's disastrous ex can be her cue for happiness. Also stars Toni Collette, Ben Falcone, Eve Hewson and Tavi Gevinson.

Exit Marrakech Caroline Link, Germany International Premiere
When 17-year-old Ben visits his father Heinrich in Marrakech, it is the start of an adventurous journey through a foreign country with a picturesque charm and a rough beauty where everything appears possible — including the chance that father and son will lose each other for good, or find one another again.

Felony Matthew Saville, Australia World Premiere
Three detectives become embroiled in a tense struggle after a tragic accident that leaves a child in critical condition. One is guilty of a crime, one will try to cover it up, and the other attempts to expose it. How far will these men go to disguise and unravel the truth?

For Those Who Can Tell No Tales Jasmila Žbanić, Bosnia and Herzegovina World Premiere
Kym, an Australian tourist, decides to travel to Bosnia. Her guidebook leads her to Višegrad, a small town steeped in history, on the border of Bosnia and Serbia. After a night of insomnia in the 'romantic' Hotel Vilina Vlas, Kym discovers what happened there during the war. She can no longer be an ordinary tourist and her life will never be the same again.

Gloria Sebastián Lelio, Chile/Spain North American Premiere
Gloria is 58 years old and still feels young. Making a party out of her loneliness, she fills her nights seeking love in ballrooms for singles. This fragile happiness changes the day she meets Rodolfo. Their intense passion — to which Gloria gives everything, as she feels it may well be her last — leaves her dancing between hope and despair. Gloria will have to pull herself together and find a new strength to realize that in the last act of her life, she could burn brighter than ever.

Going Away (Il est parti dimanche) Nicole Garcia, France World Premiere
Two unlikely friends — a supply teacher and a lonely young boy suspended between two estranged parents — embark on a weekend motorcycle voyage full of surprises and unforeseen consequences in this surprisingly tough, unsentimental drama.

Gravity Alfonso Cuarón, USA/United Kingdom North American Premiere
Gravity is a heart-pounding thriller that pulls its audience into the infinite and unforgiving realm of deep space. Sandra Bullock plays Dr. Ryan Stone, a brilliant medical engineer accompanied on her first shuttle mission by veteran astronaut Matt Kowalsky (George Clooney). On a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone — tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth… and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But their only way home may be to go further out into the terrifying expanse of space.

The Great Beauty (La Grande Bellezza) Paolo Sorrentino, Italy North American Premiere
Rome, in the splendour of summer. Jep Gambardella — a handsome man with irresistible charm despite his advancing age — enjoys the city’s social life to the fullest. He attends chic dinners and parties where his sparkling wit is always welcome. A successful journalist, in his youth he wrote a novel that earned him a literary award and a reputation as a frustrated writer. Weary of his lifestyle, Jep sometimes dreams of taking up his pen again, haunted by memories of a youthful love which he still hangs on to. But can he overcome his profound disgust for himself and others in a city whose dazzling beauty sometimes leads to creative paralysis?

Half of a Yellow Sun Biyi Bandele, Nigeria/United Kingdom World Premiere
An epic love story: Olanna and Kainene are glamorous twins, living a privileged city life in newly independent 1960s Nigeria. The two women make very different choices of lovers, but rivalry and betrayal must be set aside as their lives are swept up in the turbulence of war.

Hateship Loveship Liza Johnson, USA World Premiere
Johanna Parry moves to a new town to work for Mr. McCauley and his granddaughter, Sabitha. Sabitha and her friend trick Johanna into a one-way epistolary romance with Sabitha’s father Ken. Johanna lights on fire, and commits a criminal act to get to her lover, who barely knows she exists. Starring Kristen Wiig, Guy Pearce, Christine Lahti, Nick Nolte, Hailee Steinfeld, Jennifer Jason Leigh and Sami Gayle.

Ida Pawel Pawlikowski, Poland World Premiere
Poland, 1962. Anna is a novice, an orphan brought up by nuns in a convent. Before she takes her vows, she is determined to see Wanda, her only living relative. Wanda tells Anna that Anna is Jewish. Both women embark on a journey not only to discover their tragic family story, but who they really are and where they belong, questioning their religions and beliefs.

L'intrepido Gianni Amelio, Italy North American Premiere
This film is an affecting and timely story about a middle-aged, precariously employed jack-of-all-trades in Milan who doggedly tries to get by in an unfeeling city while trying to retain his dignity and his passions.

The Invisible Woman Ralph Fiennes, United Kingdom World Premiere
Nelly (Felicity Jones), a happily-married mother and schoolteacher, is haunted by her past. Her memories, provoked by remorse and guilt, go back in time to follow the story of her relationship with Charles Dickens (Ralph Fiennes), with whom she discovered an exciting but fragile complicity. Dickens — famous, controlling and emotionally isolated within his success — falls for Nelly, who comes from a family of actors. The theatre is a vital arena for Dickens, a brilliant amateur actor and a man more emotionally coherent on the page and on stage than in life. As Nelly becomes Dickens’ muse and the focus of his passion, for both of them secrecy is the price — and for Nelly a life of “invisibility”. Also stars Kristin Scott Thomas, Tom Hollander, Joanna Scanlan, Perdita Weeks, Amanda Hale, Tom Burke, John Kavanagh and Michael Marcus.

Joe David Gordon Green, USA North American Premiere
A gripping mix of friendship, violence and redemption erupts in the contemporary backwoods South in this adaptation of Larry Brown’s novel, celebrated at once for its grit and its deeply moving core. Academy Award winner Nicolas Cage comes back to his indie roots in the title role as the hard-living, hot-tempered ex-con Joe Ransom, who is just trying to dodge his own instinct for trouble until he meets a hard-luck kid (Tye Sheridan) who awakens in him a fierce and tender-hearted protector. Based on the novel Big Bad Love by the late Larry Brown.

Labor Day Jason Reitman, USA World Premiere
Labor Day centres on 13-year-old Henry Wheeler as he confronts the pangs of adolescence while struggling to be the man of the house and care for his reclusive mother, Adele. On a back-to-school shopping trip, Henry and his mother encounter Frank Chambers, a man both intimidating and clearly in need of help, who convinces them to take him into their home and later is revealed to be an escaped convict. The events of this long Labor Day weekend will shape all of them for the rest of their lives. Starring Kate Winslet, Josh Brolin, Gattlin Griffith, Tobey Maguire, Clark Gregg, JK Simmons, Brooke Smith and James Van Der Beek.

Like Father, Like Son Hirokazu Kore-eda, Japan North American Premiere
Two families are forced to choose between nature and nurture — between their natural sons and the sons they have raised.

Man of Tai Chi Keanu Reeves, USA/China North American Premiere
A young martial artist's unparalleled Tai Chi skills land him in a highly lucrative underworld fight club. Starring Keanu Reeves and Tiger Chen.

MARY Queen of Scots Thomas Imbach, France/Switzerland North American Premiere
A queen who lost three kingdoms. A wife who lost three husbands. A woman who lost her head.

Mystery Road Ivan Sen, Australia International Premiere
Detective Jay Swan returns to his outback hometown to investigate the brutal murder of a teenage girl found in a drain under a highway outside of town. Starring Aaron Pedersen, Ryan Kwanten and Hugo Weaving.

Night Moves Kelly Reichardt, USA North American Premiere
When do legitimate convictions demand illegal behaviors? What happens to a person’s political principles when they find their back against the wall? Night Moves is the story of three radical environmentalists coming together to execute the most spectacular direct action event of their lives: the explosion of a hydroelectric dam. Starring Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard.

Omar Hany Abu-Assad, Palestine North American Premiere
Trust and identity are stretched like wire in an impossible West Bank love story. Desires for individual and collective freedom collide. Mere sacrifice isn’t enough; betrayal is the only way to survive.

One Chance David Frankel, USA World Premiere
This film follows the remarkable and inspirational true story of Paul Potts, a shy, bullied shop assistant by day and an amateur opera singer by night. Paul became an instant YouTube phenomenon after being chosen by Simon Cowell for Britain's Got Talent. Wowing audiences worldwide with his phenomenal voice, Paul went on to win the competition and the hearts of millions. BAFTA winner James Corden stars as Paul Potts and is supported by an ensemble cast that includes Julie Walters, Mackenzie Crook, Colm Meaney, Jemima Rooper and Alexandra Roach.

Only Lovers Left Alive Jim Jarmusch, USA North American Premiere
Set against the romantic desolation of Detroit and Tangier, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? Starring Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt and Anton Yelchin.

The Past (Le Passé) Asghar Farhadi, France/Italy North American Premiere
Following a four year separation, Ahmad returns to Paris from Tehran, upon his French wife Marie's request, in order to finalize their divorce proceedings. During his brief stay, Ahmad discovers the conflicting nature of Marie's relationship with her daughter Lucie. Ahmad's efforts to improve this relationship soon unveil a secret from their past.

Philomena Stephen Frears, United Kingdom North American Premiere
Based on the 2009 investigative book by BBC correspondent Martin Sixsmith, The Lost Child of Philomena Lee, this film focuses on the efforts of Philomena Lee (Judi Dench), mother to a boy conceived out of wedlock — something Philomena’s Irish-Catholic community didn’t have the highest opinion of — and given away for adoption in the United States. Following church doctrine, she was forced to sign a contract that wouldn’t allow for any sort of inquiry into her son’s whereabouts. After starting a family years later in England and, for the most part, moving on with her life, Philomena meets Sixsmith (Steve Coogan), a BBC reporter with whom she decides to track down her long-lost son.

Pioneer (Pionér) Erik Skjoldbjærg, Norway/Germany/Sweden/France/Finland International Premiere
Pioneer is set in the early 80s, at the beginning of the Norwegian oil boom. Enormous oil and gas deposits are discovered in the North Sea and the authorities aim to bring the oil ashore through a pipeline from depths of 500 meters. A professional diver, Petter is obsessed with reaching the bottom of the Norwegian Sea. Along with his brother Knut he has the discipline, strength and courage to take on the world's most dangerous mission. But a sudden, tragic accident changes everything. Petter is sent on a perilous journey where he loses sight of who's pulling the strings. Gradually he realizes that he is in way over his head and that his life is at stake.

Prisoners Denis Villeneuve, USA World Premiere
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family? Also features Melissa Leo, Maria Bello, Viola Davis and Terrence Howard.

Quai d'Orsay Bertrand Tavernier, France World Premiere
Alexandre Taillard de Vorms is a force to be reckoned with. With his silver mane and tanned, athletic body, he stalks the world stage as Minister of Foreign Affairs for France, waging his own war backed up by the holy trinity of diplomatic concepts: legitimacy, lucidity, and efficacy. Enter Arthur Vlaminck. Hired to write the minister's speeches, Arthur must contend with the sensibilities of his boss and the dirty dealings within the Quai d'Orsay, the ministry's home.

REAL Kiyoshi Kurosawa, Japan North American Premiere
Koichi and Atsumi are lovers who have known each other all their lives. A year ago, Atsumi apparently tried to commit suicide and has been in a coma since then. Through ‘sensing’, a type of neurological treatment allowing communication with a comatose patient, Koichi tries to find out why she tried to kill herself. Starring Takeru Satoh and Haruka Ayase.

Starred Up David Mackenzie, United Kingdom World Premiere
When troubled teenager Eric is transferred to an adult prison, the new environment serves only to amplify his ultra-violent behavior. He soon comes to the attention of the prison kingpin, who assigns his lieutenant Nev to keep the boy under control. The problem however is that Nev is Eric’s father. They have not seen each other for 12 years, and an uncomfortable stand-off begins as father and son battle to gain some kind of understanding after a decade of mistrust and separation.

Third Person Paul Haggis, Belgium World Premiere
Love, passion, mystery, betrayal and hope infuse Paul Haggis' new feature, which follows the interrelated stories of three couples in three cities, Rome, New York and Paris — each with its own secrets. Starring Liam Neeson, Mila Kunis, Adrien Brody, James Franco, Olivia Wilde, Maria Bello, Kim Basinger and Moran Atias.

Those Happy Years (Anni Felici) Daniele Luchetti, Italy World Premiere
Rome, 1974. Wannabe artist Guido feels trapped by his conventional life and beautiful, bourgeois wife, Serena. Their young sons, Dario and Paolo, are caught between their parents’ passion for each other, their rows and their infidelities. The film tells of those happy years, which seemed so unhappy at the time…

Tracks John Curran, United Kingdom/Australia North American Premiere
Tracks is the true story of Robyn Davidson who trekked from Alice Springs in Central Australia through almost 2,000 miles of sprawling desert to the Indian Ocean, accompanied only by her loyal dog and four unpredictable camels. This epic and remarkable journey into Australia’s last great frontier was captured by charismatic National Geographic photographer Rick Smolan. These challenging and emotional nine months in the desert marked a new beginning for Robyn that would change the rest of her life. Starring Mia Wasikowska and Adam Driver.

Under the Skin Jonathan Glazer, USA/United Kingdom North American Premiere
The story of an alien in human form on a journey through Scotland. Part road movie, part science fiction, part real, it’s a film about seeing the world through alien eyes. Starring Scarlett Johansson.

Violette Martin Provost, France/Belgium World Premiere
Born out of wedlock early in the last century, Violette Leduc meets Simone de Beauvoir in postwar Saint-Germain-des-Près. An intense lifelong relationship develops between the two women authors, based on Violette's quest for freedom through writing and on Simone's conviction that she holds in her hands the destiny of an extraordinary writer.

Visitors Godfrey Reggio, USA World Premiere
Thirty years after Koyaanisqatsi, with support from Philip Glass and Jon Kane, Godfrey Reggio’s portrayal of modern life in Visitors leapfrogs beyond earth-bound filmmakers. Presented by Steven Soderbergh, Visitors offers an experience of technology and transcendental emotionality, taking viewers to the moon and back to confront them with themselves.

Walesa. Man of Hope. (Walesa. Czlowiek z nadziei.) Andrzej Wajda, Poland North American Premiere
How was it possible that a single man influenced contemporary world so significantly? This film is an attempt to capture the phenomenon of a common man’s metamorphosis into a charismatic leader — an attempt to see how a Gdansk shipyard electrician fighting for workers’ rights awakened a hidden desire for freedom in millions of people.

We are the Best! (Vi är bäst!) Lukas Moodysson, Sweden North American Premiere
Stockholm 1982. Bobo, Klara and Hedvig are three 13-year-old girls who roam the streets. Girls who are brave and tough and strong and weak and confused and weird. Girls who have to take care of themselves way too early. Girls who heat fish fingers in the toaster when mom is at the pub. Girls who start a punk band without any instruments, even though everybody says that punk is dead.

Le Week-End Roger Michell, United Kingdom World Premiere
Nick and Meg Burrows return to Paris, the city where they honeymooned, to celebrate their 30th wedding anniversary and rediscover some romance in their long-lived marriage. The film follows the couple as long-established tensions in their marriage break out in humorous and often painful ways. Starring Jeff Goldblum, Jim Broadbent and Lindsay Duncan.

You Are Here Matthew Weiner, USA World Premiere
When Steve Dallas (Owen Wilson), a womanizing local weatherman, hears that his off-the-grid best friend Ben Baker (Zach Galifianakis) has lost his estranged father, the two return to Ben's childhood home. Once there, they discover Ben has inherited the family fortune, and the ill-equipped duo must battle Ben's formidable sister (Amy Poehler) and deal with his father's gorgeous 25-year old widow (Laura Ramsey). You Are Here is a contemporary adult comedy about family, friendship, money, and the people who keep it all afloat.

Young and Beautiful (Jeune & jolie) François Ozon, France/Belgium North American Premiere
A coming-of-age portrait of a 17-year-old French girl over four seasons and four songs — from her sexual awakening to her first time; from her exploration of love to her search for her identity.

“Fruitvale Station” Director to Team with Stallone on “Rocky” Reprise

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Ryan Coogler discussing Fruitvale Station at one of our free Summer Talks. Photo: Philip May

Fruitvale Station director Ryan Coogler has had a great 2013, first winning the Grand Jury and Audience prizes at the Sundance Film Festival, followed by further accolades in Cannes, then opening his film to critical and box office success earlier this month. Now comes news that Coogler is set to direct his first studio production with his Fruitvale Station star, Michael B. Jordan, as a possible lead in his follow-up, Creed, via Hollywood studio MGM.

According to Deadline.com, the project is a continuation of the '70s and '80s franchise, Rocky, which Coogler will co-write with Aaron Covington. Sylvester Stallone will also make a return as Rocky Balboa—a retired fighter who is now a trainer.

Coogler, who recently spoke at the Elinor Bunin Munroe Film Center as part of Film Society's ongoing Summer Talks series ahead of the release of Fruitvale Station, had said Creed would be a dram project after he signed with talent agency WME. Stallone reportedly loved the idea and offered himself up to reprise his iconic role as Balboa. Stallone is currently working on a stage musical version of his 1976 Oscar-winning film, Rocky.

The storyline, according to Deadline, centers on the grandson of Apollo Creed (originally played by Carl Weathers) who has grown up amidst wealth and yearns to box. His family, however, discourages him from going into the ring like his grandfather, who reigned as the heavyweight champion until Rocky Balboa seized the title in Rocky II (1979). In need of help, he turns to Balboa, who is by now retired from boxing and not looking for a rematch.

"[Filmmaking is] an outlet to get my frustrations out and to ask questions," Coogler said to Film Society's Eugene Hernandez at the Summer Talks series ahead of the release of Fruitvale Station. "As a filmmaker, I try to find the happiness and the darkness and the sadness and see how we can grow from that."

Cinema Free For All

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Steven Soderbergh's Behind the Candelabra

Film Society of Lincoln Center is offering a wide range of free content this summer, from our fascinating Summer Talks series to our hotly-anticipated Breaking Bad marathon. Now we're taking it one step further with the launch of Free Fridays in the FIlm Center Amphitheater! Every week in August, we'll be screening one of HBO Films' many popular and critically acclaimed titles: Behind the Candelabra on August 2, Cinema Verite on August 9, Too Big To Fail on August 16, and Game Change on August 23. Each film will screen twice, at 4:00pm and 7:30pm.

These Friday screenings are a continuation of the Film Society's established releationship with HBO Films. The two organizations already partner annually on Directors Dialogues and On Cinema conversations during the New York Film Festival. The 51st NYFF will run September 27 – October 13.

HBO cleaned up at the 2013 Emmy Awards with 32 nominations, including six nods for Behind the Candelabra for Outstanding Miniseries or Movie, Outstanding Actor (Michael Douglas, Matt Damon), Outstanding Writing (Richard LaGravenese), Outstanding Directing (Steven Soderbergh) and Outstanding Supporting Actor (Scott Bakula). Last year’s Emmy winners included HBO Films’ Game Change for Outstanding Miniseries or Movie, Outstanding Lead Actress (Julianne Moore), Outstanding Writing (Danny Strong), Outstanding Directing (Jay Roach) and Outstanding Casting.


Jay Roach's Game Change

We are also thrilled to report two exciting additions to our free Summer Talks series. On July 31 at 7:00pm, Film Society will host Rob Epstein and Jeffrey Friedman to discuss their highly anticipated film, Lovelace, while Academy Award nominated director Lee Daniels will come August 15 at 7:00pm to discuss his latest, Lee Daniels' The Butler.

Film Society began hosting these live, free talks in May and will continue throughout the summer. The series kicked off with Before Midnight director Richard Linklater and actors Julie Delpy and Ethan Hawke, and has since welcomed Sofia Coppola for The Bling Ring, Jem Cohen for Museum Hours, Ryan Coogler for Fruitvale Station, and Nicolas Winding Refn for Only God Forgives. Previously announced filmmakers still to participate in the series include Prince Avalanche director David Gordon Green, Ain’t Them Bodies Saints director David Lowery, Passion director Brian De Palma and Drinking Buddies director Joe Swanberg.

For all our free events, complimentary tickets will be available at the Elinor Bunin Munroe Film Center box office on a first-come, first-served basis one hour prior to the conversations and screenings. There is a limit of one ticket per person. For those unable to attend the Summer Talks in person, video from the event will be available online on our YouTube Channel.

Second NYFF Critics Academy Accepting Applications

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The New York Film Festival looms with the 51st edition opening in just over two months on September 27. And for the second time, the Critics Academy will return to mentor aspiring film writers. Beginning September 23, a select group of six to eight participants will engage in roundtable discussions and workshops and then will hone their skills by covering NYFF51. The program is part of an ongoing initiative launched last year at the 2012 Locarno Film Festival and produced by Indiewire and the Film Society of Lincoln Center. It will once again return to Locarno next month with its second annual Critics Academy there.

The second edition of the NYFF Critics Academy is now accepting applications. Spearheaded by Indiewire critic Eric Kohn and Film Society staff, selected participants will engage in candid discussions with working critics, distributors, filmmakers and others directly impacted by their work to bring a greater context to its ongoing relevance. They will then provide written work for Indiewire's Criticwire blog (part of its Criticwire Network), the Film Society of Lincoln Center's FilmLinc Daily, and other outlets to be arranged closer to the event. Film Comment magazine will also play a role in the workshop.

The deadline for applying is Friday, August 9. Accepted critics will be notified by September 1. Emphasis will be placed on a diversity of voices, backgrounds and cinematic interests.

"The Film Society continues to innovate with its multiple ways of impacting contemporary film culture—from festivals to first-run theaters and various educational initiatives, including this one," noted Indiewire's Eric Kohn. "We couldn't ask for a better partner in the task of continuing to assure that New York's vibrant film culture continues to benefit from talented critics willing to take advantage of the cinematic riches it has to offer."

Application details and requirements follow:

Applicants must have completed a minimum of three years of undergraduate study or no more than two years of experience creating critical and/or journalistic content about movies. They must showcase a demonstrable interest in film criticism and/or film journalism as well as the ability to speak and write fluently in English. They must also live in New York City or the greater New York area. 

Applications must include the following:
    •    CV: A basic, one-page resume
    •    Five writing samples about film. These can take the form of film reviews, scholarly papers, blog posts, college newspaper clips, podcasts or any other work that you think demonstrates your skills.
    •    A 500-word statement of intent. Tell us about your background and why you would make an ideal candidate for the Critics Academy. Make sure to note any particular interests (genres, national cinemas, etc.). Passion, strong writing skills and a deep knowledge of film history matter more than overall professional experience.
Please send applications to: criticsacademy@filmlinc.com

Questions? Please contact Eric Kohn at eric@indiewire.com

Video: Refn Talks Violence, Silence, Kazan

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Last week, Nicolas Winding Refn, director of the divisive Only God Forgives, came to Film Society to discuss his latest film as part of our Summer Talks series. The film is the provocateur's second violent, hyper-stylized collaboriation with Ryan Gosling, and features a highly-praised, scenery-chewing turn from Kristen Scott Thomas. During the course of the conversation, Refn addressed the genesis of the film, the practical aspects of filmmaking, and his approach to his inflammatory themes and motifs. For those who were not able to attend the talk in person, we've posted the entire conversation on our YouTube channel, and compiled some of our favorite moments below. 

Despite the fantastic elements of his films, Refn spoke about the importance of pragmatism when making films, insisting that a long career depends on smart budgeting:

Though many assumed that Refn cast Ryan Gosling due to the success of their previous collaboration, Drive, the director revealed that Gosling was not his original lead:

Known for his minimal dialogue, Refn discussed baffled reactions to his use of silence and why he considers it to be an important element of cinema:

While his use of silence is considered formally daring, his focus on extreme violence continues to be the most controversial aspect of Refn's films. During our Summer Talk, he explained his approach of violence as fantasy:

During the audience Q&A portion of the Summer Talk, an aspiring filmmaker asked Refn what advice he had to offer young directors. Refn felt that Elia Kazan said it best with (essentially), "You do you":

Still not satisfied? Here's the full Summer Talks Q&A:

Venice Film Festival Reveals 70th Edition Lineup

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Errol Morris' The Unknown Known

The Venice International Film Festival revealed its selections of International Competition and Out of Competition slate and more today with 20 World Premieres competing for the event's Golden Lion Award.

Filmmakers heading to Venice next month with their latest work in competition include Stephen Frears, who will debut his drama Philomena, starring Judi Dench and Steve Coogan, about a woman searching for her adult son who had been taken away from her decades ago when forced to live in a convent. Terry Gilliam's The Zero Theorem centers on a computer hacker's goal to discover the reason for human existence, but continually finds roadblocks by management. The film stars Matt Damon, Christoph Waltz and Tilda Swinton.

Sci-Fi feature Under the Skin by Jonathan Glazer follows an alien in human form on a journey through Scotland. It stars Scarlett Johasson, Antonia Campbell-Hughes and Paul Brannigan. David Gordon Green will head to the Lido with Joe starring Nicolas Cage, Tye Sheridan and Sue Rock about an ex-con who meets a 15 year old boy and is faced with the choice of redemption or ruin. Errol Morris brings his latest documentary to the competition, spotlighting former U.S. Defense Secretary Donald Rumsfeld in The Unknown Known.

Kelly Reichardt's Night Moves is a drama about three environmentalists who plot to blow up a dam starring Dakota Fanning, Alia Shawkat and Jesse Eisenberg, while Quebecois filmmaker Xavier Dolan makes his first trip to Venice with Tom Á La Ferme (Tom at the Farm), in which he also co-stars. James Franco's Child of God also stars the filmmaker along with Tim Blake Nelson in a drama about a violent-prone loner who moves to the mountains of Tennessee and lives in a cave.

Out of Competition selections include Paul Schrader's The Canyons, which will have its World Premeire at the Film Society of Lincoln Center on July 29. Other highlights in the section include Alfonso Cuarón's Gravity, Alex Gibney's The Armstrong Lie, Kim-Duk Kim's Moebius, Thierry Ragobert's Amazonia and Frederick Wiseman's doc At Berkeley.

The 70th Venice International Film Festival takes place August 28 - September 7.

Films screening in Competition and Out of Competition follow with information provided by the festival. The festival's other section lineups can be viewed here.

International Competition of Feature Films (World Premieres)


Judi Dench in Stephen Frears' Philomena.

MERZAK ALLOUACHE - ES-STOUH
Algeria, France, 94'
Adila Bendimerad, Nassima Belmihoub, Ahcene Benzerari, Aïssa Chouat, Mourad Khen, Myriam Ait El Hadj

GIANNI AMELIO - L'INTREPIDO
Italy, 104'
Antonio Albanese, Livia Rossi, Gabriele Rendina, Alfonso Santagata, Sandra Ceccarelli

ALEXANDROS AVRANAS - MISS VIOLENCE
Greece, 99'
Themis Panou, Eleni Roussinou

JOHN CURRAN - TRACKS
UK, Australia, 107'
Mia Wasikowska, Adam Driver

EMMA DANTE - VIA CASTELLANA BANDIERA
Italy, Switzerland, France, 90'
Elena Cotta, Emma Dante, Alba Rohrwacher, Renato Malfatti, Dario Casarolo, Carmine Maringola

XAVIER DOLAN - TOM À LA FERME
Canada, France, 105'
Xavier Dolan, Pierre-Yves Cardinal, Lise Roy, Evelyne Brochu

JAMES FRANCO - CHILD OF GOD
USA, 104'
Scott Haze, Tim Blake, Nelson Jim Parrack

STEPHEN FREARS - PHILOMENA
UK, 94'
Judi Dench, Steve Coogan

PHILIPPE GARREL - LA JALOUSIE
France, 77'
Louis Garrel, Anna Mouglalis

TERRY GILLIAM - THE ZERO THEOREM
UK, USA, 107'
Christoph Waltz, Matt Damon, Mélanie Thierry, David Thewlis, Lucas Hedges, Ben Whishaw, Tilda Swinton

AMOS GITAI - ANA ARABIA
Israel, France, 84'
Yuval Scharf, Sarah Adler, Uri Gavriel, Norman Issa, Yussuf Abuwarda, Shady Srur, Assi Levy

JONATHAN GLAZER - UNDER THE SKIN
UK, USA, 104'
Scarlett Johansson, Antonia Campbell-Hughes, Paul Brannigan, Krystof Hádek, Robert J. Goodwin


Terry Gilliam's The Zero Theorum.

DAVID GORDON GREEN - JOE
USA, 117'
Nicolas Cage, Tye Sheridan, Ronie Gene Blevins

PHILIP GRÖNING - DIE FRAU DES POLIZISTEN
Germany, 175'
Alexandra Finder, David Zimmerschied, Pia Kleemann, Chiara Kleemann, Horst Rehberg, Katharina Susewind, Lars Rudolph

PETER LANDESMAN - PARKLAND
USA, 92'
James Badge Dale, Zac Efron, Jackie Earle Haley, Colin Hanks, David Harbour, Marcia Gay Harden, Ron Livingston, Jeremy Strong, Billy Bob Thornton, Jackie Weaver, Tom Welling, Paul Giamatti

HAYAO MIYAZAKI - KAZE TACHINU
Japan, 126'
(Animation)

ERROL MORRIS - THE UNKNOWN KNOWN
USA, 105'
Donald Rumsfeld (documentary)

KELLY REICHARDT - NIGHT MOVES
USA, 112'
Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard, James Le Gros

GIANFRANCO ROSI - SACRO GRA
Italy, 87'
(documentary)

MING-LIANG TSAI - JIAOYOU (STRAY DOGS)
Chinese Taipei, France, 138'
Lee Kang-sheng, Lu Yi-ching, Lee Yi-cheng, Lee Yi-chieh, Chen Shiang-chyi

Out of Competition (Important works by directors already established in previous editions of the festival)

SHINJI ARAMAKI - SPACE PIRATE CAPTAIN HARLOCK
Japan, 115'

ALFONSO CUARÓN - GRAVITY
Usa, 90'
George Clooney, Sandra Bullock

SALVO CUCCIA - CUCCIA - SUMMER 82 WHEN ZAPPA CAME TO SICILY
Italy, Usa, 80'
Gail Zappa, Moon Zappa, Diva Zappa, Dweezil Zappa, Mathilda Doucette, Megan Zappa, Massimo Bassoli, Steve Vai, Tanino Liberatore, Thomas Nordegg


Paul Schrader's The Canyons.

ANNA EBORN - PINE RIDGE
Denmark, 77'
Vanessa Piper, Kassel Sky Little, Lance Red Cloud Cassandra Warrior, Daniel Runs Close, John Little Finger, Bert Lee Montileaux Jr

ALEX GIBNEY - THE ARMSTRONG LIE
Usa, 105'
Lance Armstrong

MIGUEL GOMES - REDEMPTION
Portugal, France, Germany, Italy, 26'

KITTY GREEN - UKRAINA NE BORDEL (UKRAINE IS NOT A BROTHEL)
Australia, 76'

KI-DUK KIM - MOEBIUS
South Korea, 90'
Cho Jae-hyun, Seo Young-ju, Lee Eun-woo

STEVEN KNIGHT - LOCKE
United Kingdom, 85'
Tom Hardy, Olivia Colman, Ruth Wilson, Andrew Scott, Ben Daniels, Tom Holland

SANG-IL LEE - YURUSAREZARU MONO (UNFORGIVEN)
Japan, 125'
Ken Watanabe, Jun Kunimura, Yûra Yagira, Kôichi Satô, Akira Emoto, Shioni Kutsuna, Eiko Koike, Ken’ichi Takitô

GREG MCLEAN - WOLF CREEK 2
Australia, 107'
Phillipe Klaus, Shannon Ashlyn, John Jarratt

COSTANZA QUATRIGLIO - CON IL FIATO SOSPESO
Italy, 35'
Alba Rohrwacher

THIERRY RAGOBERT - AMAZONIA
France, Brazil, 90'

EDGAR REITZ - DIE ANDERE HEIMAT - CHRONIK EINER SEHNSUCHT (HOME FROM HOME - CHRONICLE OF A VISION)
Germany, 225'
Jan Dieter Schneider, Antonia Bill, Maximilian Scheidt, Marita Breuer, Rüdiger Kriese, Philine Lembeck, Mélanie Fouché, Eva Zeidler, Barbara Philipp, Christoph Luser

PAUL RUDISH, AARON SPRINGER, CLAY MORROW - O SOLE MINNIE (GONDOLA)
Usa, 3'

PAUL SCHRADER - THE CANYONS
Usa, 99'
Lindsay Lohan, James Deen, Nolan Gerard Funk, Gus Van Sant

ETTORE SCOLA - CHE STRANO CHIAMARSI FEDERICO - SCOLA RACCONTA FELLINI
Italy, 93'
Sergio Rubini, Antonella Attili, Vittorio Viviani, Sergio Pierattini, Tommaso Lanzotti

MARIO SESTI, TEHO TEARDO - LA VOCE DI BERLINGUER
Italy, 20'

ANDRZEJ WAJDA, EWA BRODZKA - WALESA. CZOWIEK Z NADZIEI (WALESA. MAN OF HOPE)
Poland, 120'
Robert Wieckiewicz, Agnieszka Grochowska, Maria Rosaria Omaggio

BING WANG - FENG AI ('TIL MADNESS DO US PART)
Hong Kong-China, France, Japan, 220'

FREDERICK WISEMAN - AT BERKELEY
Usa, 244'


IFP Sets 35th Independent Film Week

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The Independent Filmmaker Project (IFP) released details of its 35th edition of Independent Film Week, taking place at Lincoln Center in September. The annual event hosts the international film and media community in New York to advance new projects by both emerging and established independent artists and filmmakers.

Among this year's 163 U.S. and international projects are new feature scripts from Carlen Altman (star/co-writer of The Color Wheel), Rama Burshtein (Fill The Void), Zach Clark (White Reindeer), Matthew Porterfield (I Used to be Darker), Pia Marias (Layla Fourie), Martha Stephens (Pilgrims Song), Sophia Takal (Green), The Zellner Brothers (Kid Thing), and Caveh Zahedi (I Am A Sex Addict). Veteran documentary filmmakers with Narrative projects are also joining this year's lineup including: Jennifer Fox (My Reincarnation), Andrew Rossi & Kate Novack (Page One: Inside the New York Times), Jeremiah Zagar (In a Dream), and Pete Ohs & Andrea Sisson (I Send You This Place).

Formerly known as the Independent Feature Film Market (IFFM), the initiative has played a pivotal role in the early work of independent filmmakers Charles Burnett, Todd Haynes, Mira Nair, Michael Moore, Joel and Ethan Coen, Kevin Smith, and Todd Solondz. In recent years, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene including Derek Cianfrance (Blue Valentine), Debra Granik (Down to the Bone), Miranda July (Me and You and Everyone We Know), Dee Rees (Pariah), and Benh Zeitlin (Beasts of the Southern Wild). This year's lineup, programmed by Deputy Director/Head of Programming Amy Dotson and Senior Director of Programming Milton Tabbot, the roster is split between documentary and narrative features.

For the first time this year, Independent Film Week's Spotlight on Documentaries section will highlight new work from international documentarians in addition to U.S. filmmaker. The documentary selection includes new work from acclaimed directors such as Academy Award® winners Louis Psihoyos (The Cove) and Cynthia Wade (Freeheld) and Academy Award-nominees Marshall Curry (If a Tree Falls), Carl Deal (Trouble the Water) and Rick Goldsmith (The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers); Ed Pincus & Lucia Small (The Axe in the Attic); Kristi Jacobson (A Place at the Table); Michel Negroponte (Jupiter’s Wife); Dawn Porter (Gideon’s Army); Jamie Meltzer (Informant); Kimberly Reed (Prodigal Sons); Jesse Moss (Full Battle Rattle); Mitch McCabe (Youth Knows No Pain); Jody Lee Lipes (NY Export: Opus Jazz); Lisanne Skyler (No Loans Today), Stephanie Wang-Breal (Wo Ai Ni Mommy); Pietra Bretkelly (The Art Star and the Sudanese Twins); Yael Hersonski (A Film Unfinished); Catherine Gund (Mother Afghanistan); Judd Ehrlich (Magic Camp); Edward  Hall & James Lovelace [D.A.R.Y.L.] (Werewolves across America, Katy Perry: A Part of Me); and Andy Bicklbaum & Mike Bonanno (the Yes Men films).

"For 35 years, IFP has promoted and served the independent film community and we’re thrilled to be able to continue to do so with an outstanding slate of both U.S. and international projects for this year’s Independent Film Week,” said Joana Vicente, Executive Director of IFP.  “This year, we’re heavily focusing on innovative filmmakers and creators who are pushing the boundaries of our medium and making storytelling more accessible than ever."

A full list of 2013 Independent Film Week projects can be found here.

Interview: Poull Brien, “Charles Bradley: Soul of America”

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Filmmaker Poull Brien

Charles Bradley: Soul of America, Sound + Vision's opening night film, tells the inspiring story of soul singer Charles Bradley, who finally found fame at the age of 62 The film was directed by music enthusiast Poull Brien and is his feature debut. Brien spoke with FilmLinc Daily about meeting Charles Bradley, the process of making the film, and the central role of music in all of his work.

When did you first hear about Charles Bradley?

It was 2010 and there was this Charles Bradley song, “The World (Is Going Up in Flames),” which wasn’t out yet. It was only issued as a 45 at that point. You couldn’t download it anywhere online. There was no information about Charles. He wasn’t an artist they were promoting at all. So, his album was just kind of sitting there on the shelf, waiting for eventual release. But I didn’t know any of this, I just heard a great song, and thought, I really love that tune. I kept replaying it, and I reached out to the record label and told them I’d like to direct the video for them. And they were like, oh, it just happens we were thinking about doing that right now. So, I did that and that led to the doc. It was really interesting how just hearing one song really changed my life for three years.

How did you become interested in doing a feature length movie?

When that happened, I told Alex, who played me that song, "Oh, you should just produce this." So, he came to NY and we shot. That day that we were shooting, Charles and I were talking the whole day and he was telling me about the album and its crazy story. And then Alex was like, “Hey, I have some money, if you want to do a short doc on one of this guy’s shows or something.” And then it just sort of grew naturally out of there. But it was very fortuitous because we were actually right there shooting during this whole ramp up. Literally starting from when nobody was calling him and nothing was happening other than this music video.

The movie balances Charles’ personal life and performance footage. Did you ever consider making a film about the music, or was it always intended to be about his life?

No, his personal story is the whole thing for me. I wasn’t trying to do a documentary just about music. I mean, I love his music and that’s the reason that I found him, but it was really about his story. You don’t really hear too many 62 year old guys that are putting out their first album.

You include some very intimate details about Charles’ personal life. Was he at all resistant to opening up about those things?

That’s the really interesting thing about Charles—he’s so open. And he was so welcoming, too. You’ve got to imagine a dude in his position. He’s always wanted some success and to be able to be a musician and put out albums, and he’s never really been able to do it. You know, he’s been playing for $60 a night doing James Brown impersonations. So, he welcomed me in with open arms, welcomed us all in with open arms. And not only that, but introduced me to everybody in his scene. It was a really unique experience. There was no trying to get him to do this, or trying to manipulate him in any way. It was all 100% open. It was really cool. It was also cool, not just as a filmmaker, but as a person to be able to suddenly be such good friends with a guy whose world I knew nothing about. Like you go there and you start hearing all these things about how he was homeless as a teenager, how he was sleeping in abandoned buildings and on the subway, and all this crazy stuff that’s happened to him. I was just like, “Wow, I know nothing about what hard times are.” You would just lose your mind over how sweet this guy was. I mean, he’ll hug you in two seconds and he’ll tell you his life story within the first two minutes of talking to him.

Was his family equally open?

Not quite as much. Nobody’s like Charles. There’s no other Charles. But they were certainly welcoming to us. They were really sweet. Much sweeter than some of the stories you hear about them. You know, just inviting random people into their home to film them. They were so cool. And so we would end up there around Thanksgiving and all these holidays. We were there while Charles was decorating his Christmas tree, hanging out with his mom. It was really cool, having this whole other world open up.

The film is very tight at only 74 minutes long. How much time did you spend filming with him, and how much footage did you end up with?

We had thirty-four or so filming days. The thing is, there was a lot more material of the stuff that he went through before his success happened, before the album came out. But how much of that do you really need? There was a comment by somebody who wrote an article about the film who said his entire 20 years in California working as a cook and trying to make it as a James Brown impersonator was summarized by us in one line. And it is, because how much of that do you really want to see before you get back to the main story? The heart of the story is what’s happening right now. There was a lot more material. There are tons of stories. And that was the hardest thing. You know, actually, this is the first time I’ve really realized that the hardest thing was figuring out how to condense his personal story into just the right amount, so that it would feel balanced with the story that’s happening now. We spent months on that—a billion different edits.

What was that process like, of going through the different edits? Did the film’s focus change much throughout the editing process?

With Stuart McCardle, my DP, we were shooting and then editing every night. And we ended up with a cut and showed it to a bunch of people and they were like, “This could be great, but it’s definitely not great yet.” We tried to push it as far as we could go together. At that point, when we were getting that kind of feedback, I felt like I needed a fresh perspective. So I brought on this other editor, Adriana Pacheco. She was amazing. She just came in with a totally fresh perspective. We worked together for 12 days or something like that after she watched the footage. And that was where the biggest changes took place. It wasn’t that it was a lot of new material. It was restructuring and fitting it together and figuring out what you could eliminate.

Prior to making this film, you made documentary and narrative shorts, commercials, and music videos. How was the process of making this film different from your previous work?

The amount of material. It’s hard to wrap your head around that much material. The interviews would go on for an hour or two and there’s all sorts of interesting stories. It’s insane. It could be five movies. And the performances too—they’re really cool, because those first performances were Charles’ first real exposure. So those group of shows—it was watching something totally new. You can see it in the film: there are moments when you feel like you’re seeing something that’s so powerful. Like when Charles is singing “Loving You Baby” and his hands start shaking while holding the microphone. You almost want to keep showing it and show the whole song. And then the people after. There are so many people there gathered around and just hugging him and loving him. There was nothing hard about the shoot. The hardest thing by far was the edit and trying to figure out how to make a story out of all this stuff and really just how to kill your babies. That was really difficult.

Do you feel that music is central to all of your work?

Yeah, my favorite part of any project is when I get the edit done and I can drop the music in. It just comes alive. And the whole time you’re editing for story but imagining how cool it’s going to be when you get the music over it, you know? I would definitely do more music-based projects, but it’s more about finding these new environments and these new opportunities. You sometimes luck into them you and you just kind of follow where that path takes you. With Charles, this thing was totally unexpected. I was not planning on being a documentarian, not planning on doing a soul music documentary. It’s interesting to me, the way these things pop up unexpectedly. 

Charles Bradley: Soul of America screens Friday, July 26 at 6:30pm with Poull Brien and star Charles Bradley in person for Q&A as part of our Sound + Vision festival. 

An Animated Guide to our Breaking Bad Marathon

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Our weeklong celebration of AMC's groundbreaking, seven-time Emmy-winning series Breaking Bad has finally arrived, and we're like...

First up is Long Cook: A Breaking Bad Marathon, which kicks off tonight at 5:00pm. We're showing all 54 episodes to date in just five days. Each of the four-and-half seasons will screen over the course of one day, running through Tuesday. We're know you're as pumped as we are and are probably getting ready with your friends like this...

...or this...

...or whatever. But this marathon is a long haul, so we encourage you to pace yourself. A few hours in, the adrenaline is sure to ebb.

And a few days in, you'll really start to feel it.

But stay strong! Eventually you'll push through the exhaustion and ascend to a higher plane of Breaking Bad awareness.

There are two important things about our marathon that we want to make sure you know. Thing one is that, each day, we'll be raffling off a pair of tickets to the private premiere / advanced screening of the first of the show's final eight episodes. You should probably put your plus one on speed dial.

Thing two is that a very special guest is going to be dropping by on Monday during our Season 4 marathon. We really want to tell you who it is, but we've been sworn to secrecy.

Finally, a few logistics. Complimentary tickets to each day's marathon will be distributed starting one hour before the first episode begins. Space is limited, so if the Amphitheater fills up, a line will form that you can wait in until people leave and more tickets become available. You might want to bring some games.

In an attempt to keep things fair and orderly, we're imposing a strict limit of one ticket per person in line. In other words, no cutting.

That's pretty much the long and the short of it. There are a few more details (including daily start times) over on the Long Cook series page. We can't wait to see your shining faces at the Elinor Bunin Munroe Film Center tonight and all weekend long!

All GIFs courtesy of the Internet. Special shout out to Tumblr.

“Brothers Hypnotic” Redefines Family, Music and Success

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Radical, brash and even sentimental, Reuben Atlas' debut documentary Brothers Hypnotic is an unconventional look at a decidedly non-traditional band making its New York debut at the Sound + Vision series at the Film Society of Lincoln Center this weekend. A third year law student, Reuben Atlas was perhaps an unlikely filmmaker to tell the story of eight talented brothers from a rough Chicago neighborhood who formed a brass band, skirting the music establishment to do things on their own.

Their group, Hypnotic Brass Ensemble, took to the streets of New York busking in various high traffic areas of Manhattan, giving powerful performances of their not easily defined music that captured the attention of celebs and the music industry alike. But their anti-establishment ethos, a trait passed down by their charismatic father, brought the band and their music to the streets, skirting the more conventional paths to fame. Atlas happened upon them in Union Square playing to the crowds and the chance meeting tempted Atlas to re-evaluate his career trajectory and pick up a camera.

"I was in my third year of law school and was pretty disenchanted about being a lawyer and my purpose of being a lawyer," Atlas told FilmLinc Daily. "I had been making advocacy videos about people who, in my opinion, had been unfairly incarcerated under the Rockefeller Drug Laws… I was walking near Union Square and saw eight of these guys performing out in front of Whole Foods blowing their souls out through their instruments. There was something also about their music with combined elements of funk, hip hop and jazz that I had never heard before, plus the fact they were on the street and had all this talent. It was amazing to me. It was super inspiring."

The eight are the offspring of jazz guru and co-founder of the Association for the Advancement of Creative Musicians (AACM) Phil Cohran, who brought up his large family outside the boundaries of the traditional nuclear family. The group's eight members come from three different mothers, two of which helped raise the children as a communal unit. "I flew out to Chicago and I met their dad and that's when I really felt like I wanted to make a feature documentary about them because he has these ideals that came to light in the 60s and my parents had similar ideals," said Atlas, who had initially wanted to make a documentary short on the group.

Phil Cohran forms an essential story layer of this band, whose idealism and strict adherence to exist outside the mainstream stems from their father's own philosophy on black empowerment and anti-materialism. "I hope the film expresses this parallel connection in how their past is always following them through their father," noted Altlas. "They were always anti-establishment and their family was brave enough to [buck] convention and raise a non-traditional family very successfully in a very tough neighborhood."

Still, the brothers are not against making a buck, but do so on their terms. They reckon that they can make just as much money playing the streets of New York than playing clubs and, though invitations from the likes of Prince and Mos Def spark lively debate about whether they should be an opening band, the brothers' brush with superstardom is quite evident after sharing the stage with Prince at a concert in Ireland. Still, the personal story is supreme as their tight-nit relationship sustains and sometimes wreaks havoc on their band.

"The most powerful moments for me came from their interaction and their relationship with their dad and I think that's the real emotional core of the film, even though the plot is focused on what they decide to do as a band in relationship to the music world," offered Atlas, who is currently in production with his follow-up doc about the community organizing group formerly known as ACORN. "But I quickly realized the heart beat here was in their family story."

Brothers Hypnotic screens Saturday, July 27 as part of Sound + Vision series at the Elinor Bunin Munroe Film Center.

Paul Greengrass Talks “Captain Phillips,” Tom Hanks, and Hollywood

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Captain Phillips (Opening Night, NYFF51) director Paul Greengrass.

Ahead of today's exciting announcement that the World Premiere of Paul Greengrass' Captain Phillips will open the 51st New York Film Festival, the celebrated filmmaker chatted with FilmLinc Daily about his latest film, starring two-time Academy Award winner and 2009 Film Society Chaplin Award honoree Tom Hanks.

Set on the high seas, the film tells the true story of Captain Phillips (Hanks), his crew, and merchant ship, the Maersk Alabama, which was seized by pirates off the coast of Somalia in 2009. The multi-layered thriller gives a complex portrait of the effects of globalization, but focuses on the relationship between Phillips and his Somali counterpart, Muse (Barkhad Abdi). Based on the book A Captain's Duty: Somali Pirates, Navy Seals and Dangerous Days at Sea from a screenplay by Bill Ray, the tense drama plays out as both seamen pay a toll for economic forces beyond their control.

By telephone from a very warm London, Greengrass shared his insight on the film and why this incident makes for a terrific cinematic experience. He also talked about working with Tom Hanks, the challenges of shooting at sea, and why he's eager to return to New York with his latest work. Greengrass also gave his opinion on working within the studio system and why he thinks criticism that Hollywood has sacrificed storytelling for marketable sequels, superheroes, and special effects simply isn't correct—at least for the most part...


Faysal Ahmed, Barkhad Abdi, Barkhad Abdirahman, Mahat Ali in Captain Phillips. Photo: Jasin Boland

FilmLinc Daily: There have been many incidences of piracy, particularly off the Gulf of Aden and even further out in the Indian Ocean, with such horrific tales of merchant ships and even pleasure craft being seized. It's almost like an unfortunate wealth of stories about terror on the high seas, complete with kidnapping, murder and ransom, but this story about the Maersk Alabama includes the U.S. Navy and a very dramatic rescue of a merchant marine captain.

Paul Greengrass: It was a pretty well known story in America. It's such a great story and such a large story. Quite often one only works with a limited amount of information in order to create [a film]. But this one contains so much right from when the ship sets sail and the pirate boat sets sail. Then they meet and there's an attack and there's cat and mouse with getting aboard the ship followed by more cat and mouse once they are aboard. And then, of course, Captain Phillips gets put in the lifeboat when they try to escape and then the U.S. Navy converges. It's just a very, very dramatic story.

FD: It's like the old expression, "You can't make this stuff up..."

PG: There's the relationship between the American merchant captain, played by Tom Hanks, and a young Somalian captain pirate of a small skiff. So I love that and it's incredibly great to have the opportunity to do what I love doing which is to make, hopefully, an exciting film that works as an intense thriller. But it's also got real depth to it.

FD: Were you able to work with the actual Captain Phillips during the making of the film?

PG: Yes, we optioned his book A Captain's Duty: Somali Pirates, Navy Seals and Dangerous Days at Sea. He's a very, very nice man and we spent time with his family and I know Tom [Hanks] spent a lot of time with him. It was interesting to immerse yourself in his world. They're the truckers of the sea—aren't they really?—the merchant marine. They're the lifeblood of the global economy and you're never really far from peril on the sea—that's really what the story is about.

FD: Globalization plays a part in this real-life story due to the ever-increasing amount of trade and the dependence on the oceans to transport that trade, even as large swaths of the earth, like Somalia, have been left behind in the global economy.

PG: Yes, that's at the heart of the film. What I've tried to do is provide a compelling two hours that the audience will want to share and set this exciting story in the context of a quickly globalizing world. Ultimately, what drives these two sea captains together is this globalization.


Tom Hanks and Barkhad Abdi in Paul Greengrass' Captain Phillips. Photo: Jasin Boland

FD: Tom Hanks is, of course, a two-time Oscar winner for Best Actor. That must have been quite a coup having him for the role of Captain Phillips.

PG: I think Tom is absolutely fantastic in this film. He's right there in some of the best films he's done and it's Tom Hanks doing what he does best. He gives an incredibly powerful, brilliant, performance about an ordinary man facing the most intense peril. A huge appeal for me with this project was working with Tom and we just hit it off. He's just such a brilliant actor and collaborator.

It's convention at the end, whenever your leading actor finishes his part, someone on set will say, "Part complete for Mr. or Mrs. 'Whoever'," and the crew will give a round of applause. But he got such a sustained, intense round of applause because, I think, everyone who worked on this film knew they had witnessed such a very, very special performance over the 12 weeks we made the film. So you could tell in that moment the esteemed privilege everyone had watching him from the first moment until the last.

FD: What were some of the biggest challenges filming this story?

PG: The biggest challenge was definitely shooting on water. That is traditionally rather a graveyard for directors. It brings all sorts of problems. But I wanted to shoot on water and in real ships. That, of course, gives it a veracity, authenticity and, of course, a sense of excitement. It's brutal out there in any kind of swell and working in a small lifeboat being tossed around was really tough. Obviously some scenes we did inside, but a lot we did on the water and it was brutal.

FD: You're known to use a documentary-style of shooting, something certainly present in United 93, which is of course about a very different hijacking, but one that had a strong emotional impact both for the events surrounding that story and as a viewing experience. Is there a similar style in Captain Phillips?

PG: It's a hard one for me to answer because I know people always say that, but it's like trying to describe your handwriting. It's such an expression of yourself, the way one shoots. What I try to do in any film is to make it as exciting as possible. You go to the cinema to have a cinematic experience and hopefully have something that compels you, and that's what we hopefully achieved—but that's up for others to be the judge.

FD: There's a thriller element present, but I'm guessing that others beyond the regular genre audience will find appeal in this story.

PG: These were very dramatic events in a fight against the clock featuring a very ordinary person who never thought he'd be in the spotlight. That's what it's really about. It's meant to capture the mounting tension and excitement of how he's going to be freed. It's about how they're going to deal with these four desperadoes.

FD: Are you generally drawn to stories that have roots in real life and, if so, is that a natural outgrowth from your earlier career as a journalist?

PG: I would say yes. Not entirely, but there's nothing better than something that has really happened because it tells you about the world we live in. It can excite you and provide you with a cinematic experience. Piracy is something people understand all over the world; whether you come from Japan, Brazil, the U.S., you know about this. It's affected nearly all countries. As our economies become intertwined, the shipping lanes are the arterial routes that take the world's trade. So it's like railroads robberies in the 19th century. It's incredible to think of these young men going out in these small skiffs attacking these huge ships. It's outlandish, really…

FD: What does it mean to you, personally, to have Captain Phillips open the New York Film Festival?

PG: I'm very grateful personally because New York is a city I know well and has been very good to me ever since I first went there as a young student. I've always had tremendous affection for the city. And in terms of making films, it has a special place in my heart. I remember bringing my film Bloody Sunday there, which is the first one to give me some attention over in America, and then United 93 after that. I'm thrilled and it continues my wonderful relationship with that city. I'm excited and looking forward to seeing what people think of the film.


Mahat Ali, Tom Hanks, and Faysal Ahmed in Captain Phillips. Photo: Jasin Boland

FD: This being summer and, as you were saying as we started our conversation, it being so warm there in London, I'm curious about your take on working in the Hollywood system. Summer, of course, is specifically a season of big Hollywood blockbusters, superheroes, sequels and dazzling effects, which means it's also the time of the year when some critics of Hollywood lament the summer tentpoles, which they say sacrifice storytelling in favor of bland "product." I'm curious what your thoughts are on that…

PG: Honestly and truly?

FD: Yes, bring it on.

PG: I haven't found it myself. Those summer movies… Those who work inside the movie business and anyone who wishes the movie business well have to hold the movies and the industry up to scrutiny. That's, of course, something you have to do. In your heart, you have to have a process of finding the best possible global entertainment cinematic product, which is what they are doing. You're talking about how you can make movies that can entertain around the world. That is the name of the game in a global industry. And that is a really hard thing to achieve, and of course you're going to get some [movies] that don't work so well. I've been lucky; I've done pretty well, indeed, especially with the Bourne movies.

I'm the first in a room to be critical, but I'm telling you what's in my heart. I know there are so many people who work their butts off trying to get the best possible films. And in my experience, there are people who are willing to take considerable risks. This whole notion that it's all so shallow and people aren't willing to take risks… Okay, there have been a round of movies that haven't worked lately, but it's not so long ago that we were feasting on Dark Knight and Dark Knight Rises. You can't expect that every one of these films will be a Dark Knight Rises or an Inception or a Bourne, or whatever. You're going to get some that work less well, but the important thing is that studios keep trying because they are the gigantic drivers that allow the turbines of the industry to turn.

That's no reason to give films an easy ride or not to be critical, but you're asking me the question as a movie-maker. I feel it's an incredibly hard job to make global filmed entertainment. If some don't work so well, then I'm looking forward to the ones that surely will come that do work well. And they've always come.

FD: But you feel you're able to tell a story without having to bow down to what the studio marketing department might tell you is required in order to make the movie palatable worldwide?

PG: Not at all—at all. Two years ago when we started talking seriously about Captain Phillips, what they saw in this story is a film that would reach an audience, and a broad audience too, both in the U.S. and around the world. They had a choice in this film whether to make the best version of the film or do one without much worry about the storytelling. They could have taken the easy road. I absolutely didn't do that. Their deepest desire is to do things that are popular, reach audiences, and that are good. They don't want to do films that aren't good because, in the end, everyone wants to do their best work. And they're prepared, in my experience, to go the extra mile and then some. And it's not just one studio—I'm talking broadly.

That said, it's ever more difficult to find properties, concepts, stories—or whatever you want to call them, characters, situations—that will stand a chance of being as relatable in Japan as the Middle East, as South America and North America, or Europe and the U.S. It's hard to put characters into a global [context].

My take away is this: Our industry needs these movies to work. Anyone who has our industry at heart is in the business of creating an environment and climate to make these movies as good as they possible can be. I enjoy these movies too. I will take my kids to the Supermans or whatever. You want the mixed environment. You want the big entertainment palace of a Superman and the smaller niche art house. You want them all. You want a confident industry that's well resourced and making movies.

Read more about Paul Greengrass' Captain Phillips in our announcement of Opening Night of the 51st New York Film Festival.

Paul Greengrass’“Captain Phillips” Starring Tom Hanks to Open NYFF51

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Tom Hanks and Barkhad Abdi in Paul Greengrass' Captain Phillips. Photo: Jasin Boland

The World Premiere of Paul Greengrass' anticipated new film Captain Phillips will screen as the Opening Night Gala at the 51st New York Film Festival. Starring two-time Academy Award winner and 2009 Film Society of Lincoln Center Chaplin Award honoree Tom Hanks in the title role, the film recounts the true story of the 2009 hijacking of the U.S. container ship Maersk Alabama by Somali pirates in the Indian Ocean. The feature will usher in the annual NYFF, which takes place September 27 – October 13.

The screening will mark Greengrass' return to the New York Film Festival a decade after debuting his film Bloody Sunday at the 40th NYFF in 2002. Described as a "pulse-pounding thriller" by organizers, the film is based on the book A Captain's Duty: Somali Pirates, Navy SEALs and Dangeroud Days at Sea by Captain Richard Phillips and Stephan Talty, from a screenplay by Billy Ray. In April 2009, Somali pirates seized the ship on the high seas 240 nautical miles off the coast of the Horn of Africa. Maersk Alabama had 17,000 metric tons of cargo and was bound for Mombassa, Kenya. The film plays out as a tense game of cat and mouse. The crew captures one pirate, while the Somalis capture Captain Phillips. The crew attempts to exchange their captive for Phillips, but the pirates takes the captain aboard a life boat, where the standoff enters a more dangerous phase with the U.S. Navy eventually trailing the small boat.

"Captain Phillips is a riveting experience," said NYFF Director of Programming and Selection Committee Chair Kent Jones about the festival opener. "At this point in his working life, Paul Greengrass has become a master of immersive reality-based narratives set along geopolitical fault lines – in this case, the 2009 seizure of the Maersk Alabama cargo ship by four Somali pirates. I’m excited that this tough, tense, real-life thriller, capped by the remarkable performances of Tom Hanks and four brilliant first-time Somali actors (Barkhad Abdi, Faysal Ahmed, Barkhad Abdirahman and Mahat M. Ali), is opening the 51st edition of the festival."

"I think Tom is absolutely fantastic in this film," Paul Greengrass told FilmLinc Daily in an interview ahead of today's announcement. "He's right there in some of the best films he's done and it's Tom Hanks doing what he does best. He gives an incredibly powerful, brilliant, performance about an ordinary man facing the most intense peril. A huge appeal for me with this project was working with Tom and we just hit it off. He's just such a brilliant actor and collaborator."

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes: Dennis Lim, Film Society Director of Cinematheque Programming; Gavin Smith, Editor-in-Chief, Film Comment; Amy Taubin, Contributing Editor, Film Comment and Sight and Sound; and Marian Masone, Film Society Associate Director of Programming.

The film is produced by Scott Rudin, Dana Brunetti, and Michael De Luca. The Sony Pictures release is due in theaters October 11.


Faysal Ahmed, Barkhad Abdi, Barkhad Abdirahman, Mahat Ali in Captain Phillips. Photo: Jasin Boland

Oscar winner Life Of Pi by Ang Lee opened last year's 50th edition of the New York Film Festival, while Roman Polanski's Carnage opened the 2011 event. David Fincher's multiple Oscar nominee The Social Network launched the 2010 edition of the festival.

The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones also includes: Dennis Lim, FSLC Director of Cinematheque Programming; Gavin Smith, Editor-in-Chief, Film Comment; Amy Taubin, Contributing Editor, Film Comment and Sight and Sound; and Marian Masone, FSLC Associate Director of Programming.

Subscription Packages and VIP Passes for the New York Film Festival are on sale now to Film Society Members. General Public tickets will go on sale September 8 after a Member pre-sale period. For more information about becoming a Film Society Member, click here.

To sign up for email updates about the 51st New York Film Festival, click here.


Mahat Ali, Tom Hanks, and Faysal Ahmed in Captain Phillips. Photo: Jasin Boland

Past New York Film Festival Opening Night Films:

1963 The Exterminating Angel (Luis Buñuel, Mexico)
1964  Hamlet (Grigori Kozintsev, USSR)
1965  Alphaville (Jean-Luc Godard, France)
1966  Loves of a Blonde (Milos Forman, Czechoslovakia)
1967  The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria)
1968  Capricious Summer (Jiri Menzel, Czechoslovakia)
1969  Bob & Carol & Ted & Alice (Paul Mazursky, US)
1970  The Wild Child (François Truffaut, France)
1971  The Debut (Gleb Panfilov, Soviet Union)
1972  Chloe in the Afternoon (Eric Rohmer, France)
1973  Day for Night (François Truffaut, France)
1974  Don't Cry With Your Mouth Full (Pascal Thomas, France)
1975  Conversation Piece (Luchino Visconti, Italy)
1976  Small Change (François Truffaut, France)
1977  One Sings, The Other Doesn't (Agnès Varda, France)
1978  A Wedding (Robert Altman, US)
1979  Luna (Bernardo Bertolucci, Italy/US)
1980  Melvin and Howard (Jonathan Demme, US)
1981 Chariots of Fire (Hugh Hudson, UK)
1982  Veronika Voss (Rainer Werner Fassbinder, West Germany)
1983  The Big Chill (Lawrence Kasdan, US)
1984 Country (Richard Pearce, US)
1985 Ran (Akira Kurosawa, Japan)
1986 Down By Law (Jim Jarmusch, US)
1987  Dark Eyes (Nikita Mikhalkov, Soviet Union)
1988  Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain)
1989  Too Beautiful For You (Bertrand Blier, France)
1990 Miller's Crossing (Joel Coen, US)
1991  The Double Life of Veronique (Krysztof Kieslowski, Poland/France)
1992  Olivier Olivier (Agnieszka Holland, France)
1993  Short Cuts (Robert Altman, US)
1994  Pulp Fiction (Quentin Tarantino, US)
1995 Shanghai Triad (Zhang Yimou, China)
1996  Secrets & Lies (Mike Leigh, UK)
1997 The Ice Storm (Ang Lee, US)
1998 Celebrity (Woody Allen, US)
1999 All About My Mother (Pedro Almodóvar, Spain)
2000 Dancer in the Dark (Lars von Trier, Denmark)
2001 Va Savoir (Jacques Rivette, France)
2002 About Schmidt (Alexander Payne, US)
2003 Mystic River (Clint Eastwood, US)
2004 Look At Me (Agnès Jaoui, France)
2005 Good Night, and Good Luck. (George Clooney, US)
2006 The Queen (Stephen Frears, UK)
2007 The Darjeeling Limited (Wes Anderson, US)
2008 The Class (Laurent Cantet, France)
2009 Wild Grass (Alain Resnais, France)
2010 The Social Network (David Fincher, US)
2011 Carnage (Roman Polanski, France/Poland)
2012 Life of Pi (Ang Lee, US)

Pussy Riot, Subject of HRWFF Doc, to Remain Jailed

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A scene from Maxim Pozdorovkin and Mike Lerner's Pussy Riot: A Punk Prayer.

Condemnation from officials worldwide and public statements from the likes of Madonna, Sting and Paul McCartney, as well as a documentary that played at Sundance and the recent Human Rights Watch Film Festival at Film Society, has failed to move the Russian government to release two jailed activists from feminist art collective/band Pussy Riot.

Last week, a court said that the two jailed activist, Nadezhda Tolokonnikova and Maria Alyokhina, had not repented after singing a protest song against President Vladimir Putin in Moscow's main cathedral. Both women are due for release next year, but were eligible for parole. The drama was captured by filmmakers Maxim Pozdorovkin and Mike Lerner whose 2013 doc Pussy Riot: A Punk Prayer shows the incident that lead to their arrest and their subsequent trial.

In February 2012, members of the punk band Pussy Riot entered Moscow's revered seat of Russian Orthodoxy, Christ the Saviour Cathedral, wearing their trademark colorful balaclavas (think brightly colored ski masks) and belted out a noisy 40-second song called a "punk prayer protest" near the altar. After being detained for wearing "inappropriate" sleeveless dresses, Nadia, Masha and Katia were accused of offending believers' sentiments and stood trial. They quickly became a cause célèbre around the world.

The ensuing backlash from Russian Orthodox activists and supporters of Putin thrust the young women before the world's cameras in a trial criticized as unfair. The government dismissed Pussy Riot as hooligans.

Commenting on their detention and the reasons behind it, co-director Mazim Pozdorovkin told FilmLinc Daily ahead of his film's New York debut at the Human Rights Watch Film Festival: "A new law was passed that is being called 'the Pussy Riot law,' which basically criminalizes offending the feelings of believers, so what they were being charged with was a hate crime. But right now there's an appeal that applying that charge isn't really appropriate. In the short term, the establishment has rallied their conservative base to their cause. Xenophobic sentiment is also being raised by saying that Orthodoxy is under some kind of attack, which of course it isn't. The Patriarch was also suffering some P.R. disasters at the time."


Watch Our Breaking Bad Panels Live

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Breaking Bad creator / executive producer Vince Gilligan. Photo by Frank Ockenfels 3/AMC.

On Thursday and Friday night, Film Society of Lincoln Center will welcome series creator Vince Gilligan and actors Betsy Brandt, Bryan Cranston, Anna Gunn, RJ Mitte, Dean Norris, and Bob Odenkirk to participate in a series of panels about AMC's seven-time Emmy-winning series Breaking Bad. Each panel consists of two episodes of the show hand-selected by the panelist(s) followed by a Q&A moderated by Matt Zoller Seitz of New York Magazine (August 1) or Emily Nussbaum of The New Yorker (August 2).

These events are currently standby only. You could brave the standby line, which we expect to be long, or you could enjoy these sure-to-be-fascinating conversations from the comfort of your own home. We will be live streaming all four panels on our YouTube Channel (also embedded below) and will announce which episodes are being shown at the beginning of each event via Facebook and Twitter. So set a calendar reminder, get your DVDs/Netflix ready, and join us for two nights of Breaking Bad like you've never experienced it before.

Panel 1 (August 1)
Event starts at 6:15pm
Q&A starts at approximately 7:45pm

Anna Gunn and RJ Mitte who play Walter White’s wife Skyler and son Walt Jr. with Bob Odenkirk, who plays the morally uncentered criminal lawyer Saul Goodman, will show two of their favorite episodes followed by a Q&A moderated by Matt Zoller Seitz/New York Magazine.

Panel 2 (August 1)
Event starts at 9:00pm
Q&A starts at approximately 10:30pm

Bryan Cranston, who plays central character Walter White, will show two of his favorite episodes followed by a Q&A moderated by Matt Zoller Seitz/New York Magazine.

Panel 3 (August 2)
Event starts at 6:15pm
Q&A starts at approximately 7:45pm

Cast members Betsy Brandt and Dean Norris have breathed full lives into their characters, Marie and Hank Schrader. They will show two of their favorite episodes followed by a Q&A moderated by Emily Nussbaum/The New Yorker.

Panel 4
Event starts at 9:00pm
Q&A starts at approximately 10:30pm

Series mastermind Vince Gilligan (creator, executive producer, writer, and director), whose previous credits include The X-Files, will show two of his favorite episodes followed by a Q&A moderated by Emily Nussbaum/The New Yorker.

Video of Distressed Whale Renews Interest in “Blackfish”

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A scene from Gabriela Cowperthwaite's Blackfish.

Marine life living in captivity has taken on a renewed spotlight of late with the release earlier this month of Gabriela Cowperthwaite's controversial documentary Blackfish, which drew a marked rebuke from SeaWorld. Now the park is facing a new public relations controversy with recent footage of a young pilot whale showing signs of distress when it appeared to get trapped out of water while onlookers looked on with apparent horror.

The young animal is seen floundering on an aquatic stage adjacent to the main tank as video of the incident is caught by a park patron at SeaWorld's Orlando park. Adult pilot whales appear to be trying to help the creature, but it instead continued to flail on its side for nearly a half hour, according to a report by CNN. Trainers had left the nearby stage after lightning appeared in the area. After a disturbed visitor to the park alerted an employee, trainers helped push the pilot whale back into deeper water.

John Hargrove, a former SeaWorld trainer who is critical of the park's practices and appears in Blackfish, told the news network that physically, the pilot whale was not in danger, but added, "However, with that being said, the animal is definitely in distress. And because of that, the trainers should make every move they can to get that animal back into the water as [quickly as they can]."

Blackfish focuses on an orca called Tilikum, which killed trainer Dawn Brancheau after the captive animal dragged her under water. The orca—commonly known as a killer whale—had killed before, and the film uses footage and interview to present a case that against keeping marine animals in captivity. "I just had thought they all got along and especially at a place like SeaWorld,” said Cowperthwaite in an interview earlier this month with Deadline. "So I started peeling back the onion. The idea that they're committed to preservation and education was also something I believed and grew up thinking about SeaWorld. What I came to understand is that they actually miseducate and there's no data that they are committed to environmental conservation."

In its response to the movie, SeaWorld noted that the film is misleading and added, "Blackfish ignores everything in our long history that shows the dedication and skill of our zoological staff, our commitment to education, research and conservation, our work to rescue and rehabilitate animals in need, and the inspirational impact of seeing these animals and others up close."

Blackfish is now playing daily at Film Society of Lincoln Center. Watch the trailer below, as well as the video of the pilot whale recently captured and posted to YouTube.

Darren Aronofsky Sneaks “Noah” Footage for Church Group

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Russell Crowe in Darren Aronofsky's Noah.

Interest in Darren Aronofsky's Noah, the follow-up to his Oscar-winning Black Swan, has mounted even as the film is yet to be completed. While the biblical epic is not expected to hit theaters until March of next year, the filmmaker gave a sneak look at the Paramount film, targeting a crowd that it hopes to win over next year.

Footage from the film screened Thursday to an audience of Texas' church-based Echo Conference, according to THR. Tweets from the event showed approval for the glimpse, with one person saying: "Just saw the trailer of Arononfsky's Noah. It looks like it's gonna be off the chain.'"

"I'm also excited that Hollywood has finally agreed to make the first biblical epic in 50 years," said Aronofsky in a video introduction before screening the footage. "It's been a long time since Bible movies were on the screen, and there's been a lot of advancements in technology and special effects, and maybe that's the reason why Noah's never been attempted on the big screen before, because of the size and scale of the deluge and all the different animals. … But now, finally, with Hollywood's help, we can actually do this and bring it to life." Aronofsky added that he is staying as close as possible to the words of the Bible.

"I don’t think it’s a very religious story," he told IFC.com at the Provincetown International Film Festival last summer. "I think it’s a great fable that’s part of so many different religions and spiritual practices. I just think it’s a great story that’s never been on film…I want to make a big event film, and I think it can be that."

Aronofsky explained that a poetry competition he won as an adolescent about the biblical figure, Noah, which allowed him to read the entry at the United Nations, inspired him to pursue a writing and filmmaking career.

Noah stars Russell Crowe as the title character, who builds an arc at God's direction before a great flood covered the Earth, along with Anthony Hopkins, Jennifer Connelly and Ray Winstone, according to The Guardian. The film's backers are likely hoping to tap into similar enthusiasm from Christian audiences that greeted Mel Gibson's The Passion of the Christ, which took in nearly $612 million at the box office worldwide in 2004.

Darren Aronofsky took part in a three-film series at Film Society in early 2011, "Dreams and Nightmares," featuring the New York-reared filmmaker's early titles, Pi, Requiem for a Dream and The Fountain.

David Bowie: Act, Baby, Act

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David Bowie in The Man Who Fell to Earth.

I’ll wager that if you ask 100 people, "what does 'David Bowie' mean to you?," 100 out of 100 people think of his music. And why not? This is a man who, arguably, has turned out more “classic” albums than any other artist (writer’s admission: I am a fanatic) and whose recent album The Next Day, his first in 10 years, is among the best reviewed of his 45-year career.

However, if you ask those same 100 people to name 5 David Bowie films, I wouldn’t be surprised if 90 of them said, “David Bowie acts?” Well yes, yes he does, and often very well, in fact.

While there have, indeed, been plenty of music stars who dabble in acting (Mick Jagger, Sting, Jon Bon Jovi), a few actors who play at being musicians (Bruce Willis, Kevin Costner, Eddie Murphy), and a few genuine double threats (Frank Sinatra, Bing Crosby, Elvis Presley, Will Smith), you’d be hard-pressed to find someone who is as big a rock star as Bowie (or even close), who also has a career as an actor and is as criminally underrated in the role as Bowie.


Bowie in Merry Christmas, Mr. Lawrence. Photo: RECORDED PIC-CINEVENTURE-ASAHI/OSHIMA / THE KOBAL COLLECTION

Of course, I don’t mean to imply that he’s always good or that the films themselves are without fault. He isn’t and they most certainly are not. His cameo in David Lynch’s Twin Peaks: Fire Walk With Me, for example, was accompanied by the most absurd Southern accent this side of, well, his Southern accent in Il mio West, and while The Linguini Incident boasts a great cast and some truly bizarre moments, it’s not what anyone might call a good film.

Bowie’s been very stealthy as a film, TV and stage actor, quietly building a résumé that includes a lead or two, along with many supporting roles and cameos, with some magnificent collaborators. Since his lead feature debut in Nicolas Roeg’s The Man Who Fell to Earth, Bowie has had roles of varying sizes in 17 features and has worked with a startlingly diverse group of directors, including Martin Scorsese, Nicolas Roeg, David Lynch, Luc Besson, Nagisa Oshima, Tony Scott, John Landis, Jim Henson, Julian Schnabel, and Christopher Nolan. He has played an alien, Pontius Pilate, Andy Warhol, Nikola Tesla, a doomed vampire, a goblin king, a hit man, a London gangster, a WW2 prisoner of war and, in one truly odd (and un-credited) cameo, a gay shark. He also had a very well received three-month Broadway run as David Merrick in Bernard Pomerance’s The Elephant Man in the winter of 1980-81.

As for co-stars, his film and TV scene mates have included Catherine Deneuve and Susan Sarandon (The Hunger); Tom Conti, Takeshi Kitano, and Ryuichi Sakamoto (Merry Christmas, Mr. Lawrence); Kim Novak and (in her final role) Marlene Dietrich (Just a Gigolo); Dennis Hopper and Jeffrey Wright (Basquiat); Harvey Keitel (Il mio West); Willem Dafoe (The Last Temptation of Christ); Rip Torn, Candy Clark and Buck Henry (The Man Who Fell to Earth); Henry again, André Gregory and Rosanna Arquette (The Linguini Incident); Jeff Goldblum and Michelle Pfeiffer (Into the Night); Jennifer Connolly (Labyrinth); Hugh Jackman (The Prestige); Brian Benben, Tom Beringer, Mimi Rogers, and Eva Gabor (!) (Dream On); Rickey Gervais (Extras), Giovanni Ribisi (The Hunger TV series); and Madeline Kahn and Eric Idle (Yellowbeard, as the aforementioned shark).

One thing that has served David Bowie well is that he’s a perfectionist. He doesn’t half-ass anything. He may fail, but he’s not going to fail by being lazy. He’s a rather accomplished painter and, should he have tried, I am rather confident he would have been an exceptional architect, novelist, photographer, or poet. He’s just one of those people who is an artist, full stop.

The problem we fans have with artists who are rightly acclaimed as geniuses in one medium and show glimpses of real talent in another (and yet a third, as it turns out with Bowie) is that we want more. Sure, there’s a real theatrical bent to much of Bowie’s live music—each part of his career is often referred to as a “character” or a role, but they’re still rooted in music and I can’t help but think “what if” when it comes to his acting. Imagine him as the MC in Cabaret, for example.

That’s an easy one, though. What about comedy? Well, what about it? Here he is as the absurdly named film director Sir Roland Moorecock in HBO’s early 90s sitcom, Dream On. It’s genuinely funny and he chews scenery with the best of them.

We wouldn’t feel this way, that we’ve been cheated out of “the full Bowie,” if he were consistently (or even often) terrible, but he’s not. Even in generally forgettable projects, he tends to make the most of it. I saw the 1990 film Mr. Rice’s Secret at some festival or other simply because David Bowie was in it. It was basically an after school special, rather unsubtle and maudlin, but he pulled it off. Perhaps that’s Bowie’s secret: He doesn’t act often enough to become jaded. He never phones it in.

How does he choose his roles? He has claimed the director has a lot to do with it, but that can’t really apply to every role, so what is it? To be honest, I’m okay with not knowing, but I certainly hope I have a few more chances to wonder. The bottom line is that David Bowie does everything on his own terms and, while I’m sure many of us would love to see him act more and record more and tour again (please?), maybe it’s better this way. When artists open the doors and let everyone in, they take away some of the mystery behind the art and, while I think I have some inking of what drives him, I’m okay not really knowing why Bowie does what Bowie does.

A retrospective of Bowie's film roles, Watch That Man: David Bowie, Movie Star, comes to the Film Society August 2 –8. See three films or more and save with our Discount Package!

Bonus Watching:

Ben Stiller Discusses the Challenges and Poignancy of “Walter Mitty”

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Ben Stiller directs The Secret Life of Walter Mitty. Photo: Wilson Webb / 20th Century Fox.

A veteran of film and television, actor/director/producer/writer Ben Stiller may have hit a new zeitgeist with his latest, The Secret Life of Walter Mitty, which will have its World Premiere as the Centerpiece Gala on October 5 at the 51st New York Film Festival. Stiller directs and stars in the adaptation of James Thurber's 1939 classic short story of a daydreamer who escapes his mundane life into a counter-existence chock full of fantastic adventures.

The story, which originally hit the big screen starring Danny Kaye as Walter Mitty in 1947, has been on Stiller's plate for a number of years. Fans first saw a glimpse of the film recently in a newly released trailer, sparking speculation that the actor/filmmaker has made something outside what audiences routinely expect of him, something Stiller seems to confirm in his conversation with FilmLinc Daily shortly before Thursday's NYFF announcement.

In his conversation, Stiller talks about how the seven-decade old story takes on added life today, praising screenwriter Steve Conrad and his fellow cast members Kristen Wiig, Adam Scott, Sean Penn, Shirley MacLaine, Patton Oswalt and more along the way. He also talks about the challenges that all filmmakers, no matter how established, face in getting a project off the ground. And why coming to Lincoln Center for his premiere is close to coming home.

FilmLinc Daily: You mentioned some months ago, when first talking about The Secret Life of Walter Mitty, that you had been asked to star in planned big screen incarnations of the story, but it didn't end up happening. Is that what planted the idea of doing this yourself as director as well as star?

Ben Stiller: There had been some talk about doing a remake of the Danny Kaye film, but I didn't think those [plans lived up] to what it could be. There is so much potential there for a film in terms of a life someone lives in their head. And also the iconic idea of a guy who is just a daydreamer. I found it amazing that there's this two-and-a-half page story that has become such a part of our culture. What Steve [Conrad] did was to look at it in the way he can, looking at stories that operate on different levels, besides just finding the humor and this idea of a guy who is a daydreamer, but is also having these real-life experiences that relate to his dreams and who has to exist in the real world. I think that idea was interesting to him in terms of finding out who that guy is and why he's a daydreamer and what's inside in him.

There's an emotional level to it that I found really refreshing when reading it—and it was different. That's what was really exciting to me. He's a very talented writer. There was a lot there in that original script. We really didn't know each other that well when we started to talk about it. He's a very soulful and lyrical writer, but has a funny, cynical, and dark sense of humor and I think we just connected on that level and had a similar sense of what the movie could be and what that journey would take. We thought about concentrating more on the inner journey [Walter Mitty] is taking rather than the outer one and how his experiences relate to his growth as a person.

FilmLinc: The short story by Thurber, of course, was published in 1939 and we're not too far from the 70th anniversary of the first film version of The Secret Life of Walter Mitty

Ben Stiller: Wow. I was watching this documentary on Jaws and I think we're coming up on the 40th anniversary of that… That hit home for me. [Laughs]

FilmLinc: [Laughs] But what do you think makes this story timeless? Do you think the current anxiety that still exists economically post-2008 crash has given this story new resonance?

Ben Stiller: In terms of the story, I think it's the idea that he hit on, which is that this guy is living in his head and unable to express himself and it's his imagination that is manifesting his feelings inside that are repressed. And I think that's a visceral idea people can relate to in many aspects of their lives. When I got the script originally, about eight years ago, I was in a certain stage of my life, but I think you get to a certain point where you realize your life is happening and going by. For a long time, when I was younger, everything existed so much more into the future. Noah Baumbach hit on it in Greenberg in a much darker way—this idea of realizing where you are in your life, or having ideas of where your life could be. And I think that's something people could relate to and it was very interesting to me when I read it.

I think there's a transitional time and a period of economic uncertainty and I think both of those, and seeing where our culture is going in terms of media and in this generation I'm in—which is a crossover generation—and someone like Walter is experiencing an analog world going digital. I think that idea combines with his work at Life Magazine, which is going out of business. He's an analog guy and cares about details and history of this business, but that is going away. I think this is very current.

One thing I believe Steve [Conrad] did brilliantly was to not give a specific time to this. It definitely exists in the present and of course there's the reference to Life Magazine, which is itself timeless in a way. There's a hyper-real tone in the movie. People are existing in reality, but it could be metaphoric. I wanted everything that happens in the movie to be able to occur in real life.


Ben Stiller and Kristen Wiig in The Secret Life of Walter Mitty. Photo: Wilson Webb / 20th Century Fox.

FilmLinc: Let's talk about your cast. You star, of course, along with Kristen Wiig, Adam Scott, Sean Penn, Shirley MacLaine, and, of course, more. How was it working with them as director and co-star?

Ben Stiller: It was very exciting. Having Kristen in the movie was very important because the woman Walter really wants to be with needed to be someone people could really connect with and understand why he wants to be with her, even though he didn't really know her. I think she really emanates that feeling and she's a very natural actress. And I think it's fun to see actors do something you really haven't seen them do before. You know, comedic actors get put into a certain type of role…

I said to Kristen: We can be in this and do something we haven't been seen in a lot before. We've both done some of this, of course, but in this framework, people may expect it to be a bit broader and allow it to be what it is. People have embraced this in doing some pre-screenings of the film. Kristen is a really great actress. And whether it's Sean Penn, who is in the movie, or someone like a Robert DeNiro, for instance, they're always very funny in their serious roles.

They accept that humor is a part of reality. I just love that, which is why I wanted to have Sean in the movie. Not only is he a great dramatic actor, but people sometimes forget he's also Spicoli in [Fast Times at Ridgemont High]. With him and Shirley MacLaine, there's a grounding so people can feel connected and believe in all the things that are happening. Shirley, for me, is one of those people who's been in so many amazing films that have pushed the barriers like Being There and The Apartment. She's just iconic and to have her in the movie and her spirit, playing Walter's mom, is tremendous. I think she's also doing something that she hasn't done in a long time in terms of her character. There's an innocence she has in this role and she has such a sharp sense of humor.

Adam Scott is a great actor who is both serious and funny and I have been wanting to work with for a very long time. And Patton Oswalt has been a friend for a long time and has a great spirit. It was nice to connect with him.


Ben Stiller in The Secret Life of Walter Mitty. Photo: Wilson Webb / 20th Century Fox.

FilmLinc: I want to tap your producer hat for a moment since you are also a producer on this film… I've been around the independent film world for a long time and consistently I've heard "indie" producers say, no matter how long they've been around or even how many Oscar nominations they have under their belt, that when it comes time to take on their next project, it's like starting from square one—they find it a real challenge. So what I'm curious about it what is it like for you? Obviously you're a veteran in the movie business, so what kind of challenges do you face?

Ben Stiller: Yeah, look, I think that's very true. Anybody who makes movies understands that it's very difficult to get one made—and that's on any level. Every movie has its own set of challenges. I think the challenge for this movie was simply that it's not a typical studio film. It started with Steve's script and his willingness to reinterpret the story and not simply remake the original, but to come up with something different. I think that [trumped] everything. It was a long road to get the movie to the point where it was green-lit because every step of the way the studio had to take a leap of faith on a non-traditional movie like this in what could be a genre that people might expect to be something else. We had to talk about the tone of the movie and how the comedy and emotion would balance out. So I do give the studio a lot of credit for taking a leap of faith with this movie. When you see the movie, it has a very non-traditional third act. There's not a lot of giant robots. [Laughs]

But I do give a lot of credit to the people at the studio. And like every movie, no matter how much money it is —$6 million or $600 million—it seems like there's never enough money. Not that I've ever worked on a $600 million movie. But it really is always challenging. It think 65 or 70 percent of the movie is outside. We went to Iceland for part of the movie and we had a tight shooting schedule and we were lucky with the weather. The weather can change quite quickly. We did get shut down a couple of days because of wind storms, but I think everyone was ready to take a little time to regroup. We were inspired about what the movie could be and that was a great moment that we could all be united as a cast and crew that were all going for the same thing.

FilmLinc: And how does it feel world premiering The Secret Life of Walter Mitty as the Centerpiece at the New York Film Festival? I'd imagine it's a bit of a coming home for you, not to mention that you grew up nearby here at Lincoln Center.

Ben Stiller: It's pretty amazing, really. I can't tell you how excited I am about it, especially because I think of it as a very New York movie. Everything was basically shot here and in Iceland. I grew up on the Upper West Side and the festival is only a few years older than I am and it's always something I've been aware of. As a director, to be have a film playing with others by directors you really admire, is a real honor. So yes, I'm very excited. I couldn't have hoped for more for the premiere of this movie in particular.

FilmLinc: How do you hope people will approach the film Centerpiece night and when general audiences finally get to see it when it comes out Christmas?

Ben Stiller: I hope people will really enjoy it and go along for the ride. For me, I'd say it's a very uncynical movie. On that level, I think it's great to downplay expectations [laughs]. But I hope people enjoy it and connect with it. At this point you have done everything you can, and just put it out there and hope everyone not only enjoys it but takes away their own personal experience with it.

Read more about Ben Stiller's The Secret Life of Walter Mitty in our announcement of it as the Centerpiece Gala presentation of the 51st New York Film Festival.

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