Los Angeles Film Festival

Los Angeles Film Festival Announces Line Up

Kerensa Cadenas — Fri, 10 May 2013 15:30:04 GMT

The Los Angeles Film Festival recently announced their line up. And it's great. Some of our festival favorites are screening including Lake Bell's In A World, Stacie Passon's Concussion, Short Term 12, Haifaa Al Mansour's Wadjda amongst many others.

There will also be a talk with Maya Rudolph about comedy and a panel celebrating women editors.

Here are the women-directed features that are premiering at the festival. Make sure to note that there are other women directed features as well that have premiered at previous festivals.

The LA Film Festival runs June 13 to June 23. You can find the full line up and more information here.

Narrative Competition:

Forev - Molly Green, James Leffer

On a spur of the moment road trip, new friends Sophie and Pete hatch a misguided plan to get hitched. Refreshingly funny and intelligent, this coming-of-age romantic comedy delightfully contemplates how and with whom we fall in love.

Documentary Competition:

All Of Me - Alexandra Lescaze

The women of the BBW (Big Beautiful Women) Club celebrate being overweight, and the men who love them don't want them to change. But what happens when the group decides to undergo weight loss surgery? This startlingly intimate documentary raises fascinating questions about obesity, identity and sexuality.

American Revolutionary: The Evolution of Grace Lee Boggs - Grace Lee

Tenacious 97 year old Asian-American Grace Lee Boggs was an unlikely star of the African-American movement. She looks back on her remarkable (and ongoing) lifetime of activism, dedicated to the possibility of a more just future for us all.

Llyn Foulkes One Man Band - Tamar Halpern, Chris Quilty

At 78 years of age, the brilliant, iconoclastic artist Llyn Foulkes, is still fighting the art world and his own demons as he feverishly creates–and then destroys and recreates–deep, three-dimensional paintings that mirror back his personal and artistic obsessions.

My Stolen Revolution - Nahid Persson Sarvestani

Thirty years after narrowly escaping Iran and impending imprisonment during The 1979 revolution, filmmaker and activist Nahid Persson Sarvestani sets out to find the friends she left behind. Through the harrowing stories of the women who were not as fortunate as she, Persson is led to her own redemption. (Sweden)

The New Black - Yoruba Richen

In this timely documentary, filmmaker Yoruba Richen questions the assumptions about homophobia in the African-American community, setting off an impassioned conversation about gay rights, family history, the role of the Church and the legacy of the civil rights movement.

Rain - Olivia Rochette, Gerard-Jan Claes

A poetic portrait of the world-renowned Ballet de l'Opéra national de Paris as they mount a new work by famed contemporary choreographer Anne Teresa De Keersmaeker, this documentary fragments the creative process, from auditions to opening night, celebrating small, isolated moments easily overlooked. (Belgium)

Summer Showcase (Premieres Only):

Venus Vs - Ava DuVernay

On the court, Venus Williams shines as one of the world's greatest tennis players. But she is also a tireless campaigner, leading the movement for fair pay between female and male players. Trailblazing director Ava DuVernay captures the charisma and resolve of a champion.

International Showcase (Premieres Only):

Black Out - Eva Weber

In Guinea, one of the world's poorest countries, students of all ages must go on a nightly quest for electric lights under which to study. Documentarian Eva Weber beautifully portrays these young people's determination to find a brighter future for their country and themselves. (UK)

2013 Los Angeles Film Festival Adds Studio Premieres of 'Man of Steel' and "Monsters U' to Indie Lineup (UPDATED)

Ryan Lattanzio — Wed, 08 May 2013 17:48:00 GMT

UPDATED: Per usual, LAFF has added some studio premieres and sure-to-be fascinating discussions to its lineup. On June 12, a pre-festival screening of Zach Snyder's much-anticipated superman revamp "Man of Steel" -- with Henry Cavill, Michael Shannon and Amy Adams -- will show two days before its wide release date. Also joining the lineup on June 18 is Disney/Pixar's "Monsters University" (in theaters June 21), the prequel to 2001's "Monsters, Inc."

Other new programs include "A Brand of His Own: Being Spike Jonze," a conversation with the "Being John Malkovich" director and frequent Charlie Kaufman collaborator, as well as a special presentation of Hitchcock's Sight & Sound critics poll winner "Vertigo" and a panel discussion with Hollywood's top women editors.

EARLIER: The Los Angeles Film Festival unveiled its official lineup Wednesday morning. Though it was previously announced that Pedro Almodovar's new film "I'm So Excited" is the opening night selection, and that David O. Russell will be the guest director, the lineup has now expanded to include three Sundance favorites -- Fox Searchlight's pickup "The Way, Way Back," TWC acquisition, Grand Jury Prize winner "Fruitvale Station" and David Lowery's critics' fave "Ain't Them Bodies Saints" (IFC), as well as the North American premiere of Nicolas Winding Refn's Cannes-bound "Only God Forgives."

Other notable films hailing from the festival circuit include Lake Bell's "In a World" and documentaries "The Act of Killing," directed by Joshua Oppenheimer and Christine Cynn, and "Our Nixon," by Penny Lane. LAFF will also offer free public screenings of favorites such as John Waters' "Hairspray" (1988) and Richard Linklater's "Dazed and Confused." Ava DuVernay's Venus Williams documentary "Venus Vs" will make its world premiere in the Summer Showcase series alongside "Ain't Them Bodies Saints."

Films in narrative competition below. LAFF runs June 13-23 in downtown Los Angeles. View the full lineup here.

Narrative Competition

"All Together Now," Alexander Mirecki - USA - WORLD PREMIERE
"Forev," Molly Green, James Leffler - USA - WORLD PREMIERE
"Forty Years From Yesterday," Robert Machoian, Rodrigo Ojeda-Beck - USA - WORLD PREMIERE
"Four Dogs," Joe Burke - USA - WORLD PREMIERE
"Goodbye World," Denis Henry Hennell"The House That Jack Built," Henry Barrial - USA - WORLD PREMIERE
"The House that Jack Built," Denis Henry Hennelly - USA - WORLD PREMIERE
"I.D.," Kamal K M - India - NORTH AMERICAN PREMIERE
"Mother, I Love You," Janis Nords - Latvia - NORTH AMERICAN PREMIERE
"My Sisterʼs Quinceanera," Aaron Douglas Johnston - USA - NORTH AMERICAN PREMIERE
"Pollywogs," Karl Jacob, Todd Arthur Cottam - USA - WORLD PREMIERE
"Winter in the Blood," Andrew Smith, Alex Smith - USA - WORLD PREMIERE
"Workers," Jose Luis Valle - Mexico/Germany - US PREMIERE

'Monsters University,' 'Man of Steel' Heading To Los Angeles Film Festival

Peter Knegt — Wed, 08 May 2013 17:44:49 GMT

The Los Angeles Film Festival -- presented by Film Independent -- has announced a special pre-festival screening of new Superman film "Man of Steel," as well as a festival screening of Pixar's "Monster's University" and a live discussion with director Spike Jonze.

The festival runs June 13-23.

Full press release below.

LOS ANGELES (May 8, 2012) – Today the Los Angeles Film Festival, presented by Film Independent, in conjunction with Presenting Media Sponsor the Los Angeles Times and Host Partner L.A. LIVE, announced a special pre-Festival screening of Warner Bros. Pictures’ and Legendary Pictures’ Man of Steel on June 12. Starting May 10, Festival pass holders will have the exclusive opportunity to purchase tickets to this screening ahead of the general public on-sale via the Festival website. Additionally, joining the Festival line-up is a screening of Disney•Pixar’s Monsters University on June 18. The Festival also unveiled new programming, including “A Brand of His Own: Being Spike Jonze,” which features a discussion with Jonze; “The Iconic Moment,” an event honoring costume designers and the Academy of Motion Picture Arts and Sciences launch of the Costume Designers Branch, which concludes with a screening of Alfred Hitchcock’s Vertigo; and “Women in the Cut: A Celebration of Women Editors,” a conversation featuring some of today’s top editors. For more information on ticketing for both screenings as well as attending programmed events please visit www.lafilmfest.com.

"Each year the Festival continues the year round work of Film Independent by producinghigh profile, curated events - conversations, master classes and performances – bringing together artist and craftspeople who make the magic happen,” said Stephanie Allain, Festival Director. “It’s an honor this year to honor women editors, listen to legendary costume designers discuss their favoriteiconic moment in film and then watch Vertigo outdoors at the Academy Lab. As always, alongside our lineup of amazing films, we have an equally stellar list of programmed events that are open to the public, from Maya to Mamet, Spike to Santaolalla. We're taking you behind the scenes with the masters."

The special pre-Festival screening of director Zack Snyder’s Man of Steel from Warner Bros. Pictures’ and Legendary Pictures’ takes place June 12 at 7:30 pm and stars Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni and Russell Crowe. In the film, a young boy learns he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind. Warner Bros. will release the film on June 14.

The screening of Disney•Pixar’s Monsters University takes place on June 18 at 7:30 pm and features the voices of Billy Crystal, John Goodman, Steve Buscemi, Helen Mirren, Alfred Molina and more. A prequel to the 2001 hit Monsters, Inc., the film recalls the college years of Mike Wazowski (voice of Crystal) and James P. Sullivan, “Sulley” (voice of Goodman), before they became best friends. Mike’s lifelong dream of becoming a Scarer is derailed during his first semester at Monsters University when he crosses paths with hotshot Sulley and their out-of-control competitive spirit gets them both kicked out of the University’s elite Scare Program. The film opens in U.S. theaters on June 21.

“A Brand of His Own: Being Spike Jonze” takes place June 22 at 8:00 pm. Jonze is both artist and entrepreneur. A pop culture instigator and one of the most original and intriguing filmmakers of our time, Jonze has managed to build a career on his terms. From his early beginnings entrenched in skateboard culture, he grew into one of the most sought-after music video directors. His inevitable leap into feature films displayed a new approach to storytelling and his unique brand of irony, humor, playfulness and visual style has taken audiences to the seventh and half floor, John Malkovich’s mind, Charlie Kaufman’s writer’s block and the fantasy world of Maurice Sendak. Jonze will be discussing his career as well as showing clips from his latest film, the upcoming Her.

The Festival also unveiled two incredible events that will take attendees behind the scenes and into the heart of filmmaking. On June 20 at 6:00 pm, the Academy of Motion Picture Arts and Sciences hosts “The Iconic Moment,” an event celebrating costume designers and the inauguration of the Academy’s Costume Designers Branch. Curated by renowned costume designer Sophie de Rakoff, this evening program explores the convergence of art,design and film and will shine the spotlight on the contributions of costume designers to the world of cinema. The program will include a panel discussion with a group of esteemed costume designers, followed by a reception and an exhibit of photographs by artist Alex Prager. Afterwards, there will be an outdoor screening of Alfred Hitchcock’s Vertigo (featuring costumes by acclaimed costume designer Edith Head) at 8:30 pm, preceded by Alex Prager’s Hitchcock-inspired short film Despair. “The Iconic Moment” is sponsored by BBC.com.

On June 22 at 2:00 pm the Festival will hold “Women in the Cut: A Celebration of Women Editors.” The event will take a close look at the creative process of building a film through the work of a select group of women editors who will reveal some of the “secrets” of their craft and their collaborations with directors. Panelists include esteemed editors Sandra Adair (Before Midnight, Bernie), Maryann Brandon (Star Trek, Star Wars: Episode VII, Super 8), Academy Award® nominee Pamela Martin (Hitchcock, Ruby Sparks, The Fighter) and Kim Roberts (Waiting For Superman, Food, Inc. and the 2013 Festival World Premiere, American Revolutionary: The Evolution of Grace Lee Boggs), with additional speakers to be announced. Acclaimed editor, filmmaker and Film Independent Board President Mary Sweeney will host and moderate the event. “Women in the Cut: A Celebration of Women Editors” is sponsored by MelroseMAC.

The 2013 Los Angeles Film Festival, which returns to downtown Los Angeles at L.A. LIVE for a fourth year and runs from Thursday, June 13 to Sunday, June 23, will screen a diverse slate of nearly 200 feature films, shorts and music videos, representing more than 40 countries, along with signature programs such as the Filmmaker Retreat, Music in Film Nights at The GRAMMY Museum at L.A. LIVE, Poolside Chats, Master Classes and more. Opening the Festival will be the North American premiere of Pedro Almodóvar’s I’m So Excited! and closing the Festival will be The Way, Way Back from Oscar® winners Nat Faxon and Jim Rash and starring Steve Carell, Toni Collette, Allison Janney, Annasophia Robb, Sam Rockwell, Maya Rudolph and Liam James. Visit www.lafilmfest.com for the most up-to-date schedule of films and programming.

Previously announced, the official 2013 Festival lineup as well as filmmaker David O. Russell who will serve as Guest Director and will receive the Spirit of Independence Award. Also confirmed were two Master Classes with Artists in Residence Maya Rudolph and Gustavo Santaolalla, “An Evening With Costa-Gavras,” including the US premiere of his new film Capital, and an “In Conversation” with playwright/filmmaker David Mamet and actor/stage magician/author Ricky Jay. Also announcedwere the free Community Screenings including a 20th Anniversary screening of Dazed and Confused from director Richard Linklater and a Dance-A-Long screening of John Waters’ Hairspray in honor of its 25th Anniversary.

More Special Screenings and Programs will be announced in the coming weeks.

ADDITIONAL FILMS & PROGRAMMING

Special Pre-Festival Screening:
Man of Steel – June 12

Festival Screening:
Monsters University – June 18

Programming:
“A Brand of His Own: Being Spike Jonze” – June 22
“The Iconic Moment” – Honoring Costume Designers – June 20
“Women in the Cut: A Celebration of Women Editors” – June 22

Los Angeles Film Festival Announces 2013 Lineup; To Close With 'The Way, Way Back'

Cristina A. Gonzalez — Wed, 01 May 2013 18:34:50 GMT

The Los Angeles Film Festival has revealed their 2013 lineup, including closing night film "The Way, Way Back," starring Steve Carell, Toni Collette, Maya Rudolph, Allison Janney and Sam Rockwell. The Sundance smash follows a teenage boy Duncan (Liam James) stuck on vacation with his mom Pam (Collette), her boyfriend (Carell) and his daughter Steph (Zoe Levin). Wanting to get away from the group, he begins a friendship with the owner of the local water park, Owen (Rockwell). Their friendship leads to Duncan coming into his own and having a memorable summer. The film will receive a theatrical release in July via Fox Searchlight.

The festival will also feature Gala screenings of Nicolas Winding Refn's revenge thriller"Only God Forgives" and Sundance's Grand Jury Prize winner "Fruitvale Station" (formerly titled "Fruitvale").

The complete list of films are below. Visit the festival's website here for more info. The festival runs June 13-23.

Narrative Competition:
"All Together Now" Alexander Mirecki – USA – WORLD PREMIERE
"Forev", Molly Green, James Leffler – USA – WORLD PREMIERE
"Forty Years From Yesterday", Robert Machoian, Rodrigo Ojeda-Beck – USA – WORLD PREMIERE
"Four Dogs", Joe Burke – USA – WORLD PREMIERE
"Goodbye World", Denis Henry Hennelly – USA – WORLD PREMIERE
"The House That Jack Built", Henry Barrial – USA – WORLD PREMIERE
"I.D.", Kamal K M – India – NORTH AMERICAN PREMIERE
"Mother, I Love You", Janis Nords – Latvia – NORTH AMERICAN PREMIERE
"My Sisterʼs Quinceañera", Aaron Douglas Johnston – USA – NORTH AMERICAN PREMIERE
"Pollywogs", Karl Jacob, Todd Arthur Cottam – USA – WORLD PREMIERE
"Winter in the Blood", Andrew Smith, Alex Smith – USA – WORLD PREMIERE
"Workers", Jose Luis Valle – Mexico/Germany – US PREMIERE

Documentary Competition:
"All of Me", Alexandra Lescaze – USA – WORLD PREMIERE
"American Revolutionary: The Evolution of Grace Lee Boggs", Grace Lee – USA – WORLD PREMIERE
"Code Black", Ryan McGarry – USA – WORLD PREMIERE
"The Island of Saint Matthews", Kevin Jerome Everson – USA – WORLD PREMIERE
"Llyn Foulkes: One Man Band", Christopher Quilty, Tamar Halpern – USA – WORLD PREMIERE
"My Stolen Revolution", Nahid Persson Sarvestani – Sweden – NORTH AMERICAN PREMIERE
"The New Black", Yoruba Richen – USA – WORLD PREMIERE
"Rain", Olivia Rochette, Gerard-Jan Claes – Belgium – US PREMIERE
"Tapia", Eddie Alcazar – USA – WORLD PREMIERE
"Purgatorio", Rodrigo Reyes – Mexico/USA – US PREMIERE

International Showcase:
"The Act of Killing", Joshua Oppenheimer, Christine Cynn – Denmark/Norway/UK (Drafthouse Films)
"Black Out", Eva Weber – UK – NORTH AMERICAN PREMIERE
"Boxing Day", Bernard Rose – UK
"Dormant Beauty", Marco Bellocchio – Italy
"Drug War", Johnnie To – China
"Ernest & Celestine", Stéphanie Aubier, Vincent Patar, Benjamin Renner – France (Gkids)
"The Expedition to the End of the World", Daniel Dancik – Denmark
"The Fifth Season", Peter Brosens, Jessica Woodworth – Belgium/Netherlands/France
"House with a Turret", Eva Neymann – Ukraine
"The Moo Man", Andy Heathcote, Heike Bachelier – UK
"Nobodyʼs Daughter Haewon", Hong Sang-soo – Korea – NORTH AMERICAN PREMIERE
"The Patience Stone", Atiq Rahimi – Afghanistan/France/Germany/UK (Sony Pictures Classics)
"Wadjda", Haifaa Al Mansour – Saudi Arabia/United Arab Emirates/Germany (Sony Pictures Classics)
"When I Saw You", Annemarie Jacir – Palestine/Jordan/Greece/United Arab Emirates/USA
"The Women and the Passenger", Valentina Mac-Pherson, Patricia Correra – Chile – US PREMIERE

Summer Showcase:
"Ainʼt Them Bodies Saints", David Lowery – USA (IFC Films)
"Brothers Hypnotic", Reuben Atlas – Netherlands/USA
"Casting By", Tom Donahue – USA (HBO Films)
"Concussion", Stacie Passon – USA (RADiUS-TWC)
"The Crash Reel", Lucy Walker – USA (HBO Films)
"Crystal Fairy", Sebastián Silva – Chile (IFC Films)
"Europa Report", Sebastián Cordero – USA (Magnolia Pictures/Magnet Releasing) – US
PREMIERE
"First Cousin Once Removed", Alan Berliner – USA (HBO Films)
"Harry Dean Stanton: Partly Fiction", Sophie Huber – Switzerland
"In a World…", Lake Bell – USA (Roadside Attractions)
"Our Nixon", Penny Lane – USA (Cinedigm)
"Our Vinyl Weighs A Ton (This is Stones Throw Records)", Jeff Broadway – USA – WORLD PREMIERE
"Short Term 12", Destin Daniel Cretton – USA (Cinedigm)
"The Spectacular Now", James Ponsoldt – USA (A24)
"Venus Vs.", Ava DuVernay – USA (ESPN) – WORLD PREMIERE

David O. Russell to Be 2013 Los Angeles Film Fest Guest Director

Indiewire — Fri, 19 Apr 2013 18:29:54 GMT

Oscar-nominated filmmaker David O. Russell has been named the Guest Director of the 2013 Los Angeles Film Festival. He'll also be receiving the Spirit of Independence Award at the festival. Russell will attend the Filmmaker Retreat at the Skywalker Ranch and will talk about his work after a screening of his film "Three Kings." Russell is currently shooting his new film "American Hustle," which is currently on hiatus during the Boston lockdown.

Other events announced today that will occur at this year's festival include Elvis Mitchell-hosted Master Class conversations and demonstrations with "Bridesmaids" actress Maya Rudolph and "Brokeback Mountain" composer Gustavo Santaolalla. The festival will also host conversations with playwright David Mamet, magician Ricky Jay and "Z" filmmaker Costa-Gavras who will screen his latest film "Capital" at the fest.

As Boston Filming Halts on 'American Hustle,' L.A. Film Fest Names David O. Russell as Guest Director, Spirit of Independence Award Winner

Beth Hanna — Fri, 19 Apr 2013 18:21:04 GMT

While Boston was in shut-down mode Friday as the manhunt for the Boston Marathon bomber continued, filming was halted on David O. Russell's "American Hustle," which is scheduled for release by Sony at year's end. The Abscam thriller reunites Lawrence and "Silver Linings" co-stars Bradley Cooper and Robert De Niro, as well as previous Russell collaborators Christian Bale and Amy Adams.

NBC has also pulled, in the wake of the bombings, its particularly grisly upcoming fourth episode of "Hannibal," reports Variety.

Meanwhile, the Los Angeles Film Festival (June 13-23) has named Oscar-nominated and Film Independent Spirit Award-winning Russell as the 2013 Fest's guest director. He will also receive their Spirit of Independence Award, which recognizes an individual for their commitment to artistic independence in film.

During the festival, Russell will host a special screening of his 1999 film "Three Kings," and participate in a discussion about his body of work. Russell's "Silver Linings Playbook" was nominated for eight Oscars, with Jennifer Lawrence winning for Best Actress.

Pedro Almodovar's "I'm So Excited!" will open the L.A. Film Fest.

Almodovar's 'I'm So Excited' to Open Los Angeles Film Festival

Beth Hanna — Wed, 10 Apr 2013 18:21:23 GMT

Pedro Almodovar's "I'm So Excited!" will open the Los Angeles Film Festival on June 13. This will be the North American premiere of the film. Watch the trailer below.

The film, which takes place on a troubled cross-Atlantic flight where the flamboyant crew tries to keep passengers calm as the pilot struggles to land the plane safely, boasted the director's highest box-office opening in his native Spain back in March.

Artistic director David Ansen stated that Almodovar is "the cinematic gift that keeps on giving," and that "it's a pleasure to present his latest comic treasure."

"I'm So Excited!" will hit theaters on June 28, via Sony Pictures Classics.

LAFF runs June 13-23 in downtown Los Angeles.

Pedro Almodovar's 'I'm So Excited' To Open Los Angeles Film Festival

Peter Knegt — Wed, 10 Apr 2013 18:05:06 GMT

The Los Angeles Film Festival has announced the North American Premiere of Pedro Almodóvar’s "I’m So Excited!" will open the festival on Thursday, June 13th. The film’s release is set for the U.S. two weeks later by Sony Pictures Classics.

“Film Independent and the Los Angeles Film Festival are thrilled tohost the brilliant Pedro Almodóvar’s North American premiere of I’m So Excited!,” said Festival Director Stephanie Allain in a statement. “Los Angeles, fasten your seatbelts for a fun, comedic ride!”

A narrative is set almost entirely on an airplane, it reteams Almodovar with Javier Cámara ("Talk To Her"), Cecilia Roth ("All About My Mother"), Penelope Cruz and Antonio Banderas (though the latter two in cameo roles) and judging from the trailer it looks a campy return to Almodovar's delightfully comic roots.

"Pedro Almódovar is the cinematic gift who keeps on giving," added David Ansen, Artistic Director for the Festival. "For four decades he's amazed us with movies that are funny and dangerous, lovable and challenging, subversive and wildly inventive. It's a privilege and pleasure to present his latest comic treasure as our opening night film."

“We are honored Film Independent has chosen to open with the North American premiere of Pedro Almodóvar’s latest film, I’m So Excited!, at the LA Film Festival,” said Sony Pictures Classics Co-Presidents Michael Barker and Tom Bernard. “Stephanie, David and their team have been great supporters of our films in the past, with the highlight being last year’s launch of our Oscar-winning documentary, Searching For Sugar Man. This year, we are thrilled to bring Almodóvar’s extraordinary film to the festival’s opening night gala.”

Returning to downtown Los Angeles, with its central hub at L.A. LIVE, the Festival will run from Thursday, June 13 to Sunday, June 23. Now in its nineteenth year, the Festival "provides the movie-loving public with access to critically acclaimed filmmakers, film industry professionals and emerging talent from around the world."

Deadline Approaches for Film Independent's Fall 2013 Screenwriting Lab

Ryan Lattanzio — Thu, 28 Mar 2013 11:15:03 GMT

The deadline for Film Independent's Screenwriting Lab is fast approaching. By Monday, April 1st, writers may submit a feature-length narrative screenplay for consideration in this five week program in LA.

In September and October, the ten accepted applicants will have the opportunity to hone their craft in an intensive, industry-level environment. Writers will receive feedback on their screenplay from Lab Mentors and peers, and meet knowledgeable film professionals. In addition, students of the lab will get a pass to the LA Film Festival, and gain eligibility to join the Independent Writers Caucus of the WGAW.

Previous Screenwriting Lab instructors and speakers include Ava DuVernay (writer/director of last year's highly acclaimed "Middle of Nowhere"), Rian Johnson ("Looper") and Zal Batmanglij and Brit Marling ("The Sound of My Voice"). Visit Film Independent's website for more information.

Cinedigm Takes Jared Moshé's Western 'Dead Man's Burden' for 2013 Release

Sophia Savage — Thu, 04 Oct 2012 21:24:56 GMT

Cinedigm has acquired North American rights to release "Dead Man's Burden," from director Jared Moshé. The 1870-set Western premiered at the Los Angeles Film Festival and is playing this weekend at the Hamptons Int'l Film Festival. Cinedigm plans a 2013 release with a VOD, digital and DVD roll out to follow.

Cinedigm's Vincent Scordino states that Moshé, who filmed on location in the high desert of northern New Mexico, "has created a classic Western in which his eye for detail and love of the genre come through in every scene." The film stars Clare Bowen, David Call and Barlow Jacobs. Read the synopsis below:

ThePlaylist reviewed the film at LAFF, and declared it "A Stunningly Shot, Slow Burner Of A Classic, Yet Modern Western."

Martha and her husband Heck, who are struggling to make ends meet on the rural New Mexico frontier. When a mining company expresses interest in buying their land, Martha and Heck see their ticket to a better life. Their hopeful plans are soon complicated when Martha’s oldest brother Wade, presumed dead during the war, returns to the family homestead after learning of their father’s death.

FUTURES: 'Dead Man's Burden' Star Barlow Jacobs Talks About His Role in 'The Master'

Nigel M Smith — Thu, 28 Jun 2012 15:56:09 GMT

Why He's On Our Radar: Barlow Jacobs first caught our attention when he appeared opposite Michael Shannon in Jeff Nichols' feature film debut "Shotgun Stories." While Shannon's profile has risen to huge heights since the 2007 drama, Jacobs has remained relatively below the radar, continuing to deliver solid work in films as varied as the Sundance hit comedy "Great World of Sound," Joe Swanberg's "Alexander the Last," and the experimental horror film "The Oregonian." He also wrote, produced and starred in "Low and Behold," which also premiered at Sundance, and was inspired by his need to evacuate New Orleans before Katrina hit.

His latest film, the indie post Civil War western "Dead Man's Burden," drew rave reviews at the Los Angeles Film Festival where it world premiered a couple of weeks back. The directorial debut of indie producer Jared Moshé is a spectacular looking drama in which Jacobs gives a commanding turn as Wade, a former soldier-turned-deserter who returns to his sister under mysterious circumstances.

What's Next: This October Jacobs is sure to become more of a familiar face with moviegoers, thanks to his supporting turn as James Sullivan in Paul Thomas Anderson's anticipated Weinstein release "The Master," which co-stars Philip Seymour Hoffman, Joaquin Phoenix and Amy Adams.

How did you get into acting?

I kind of got into it backwards in a lot of ways. Growing up with my friends, we were always making movies and acting, and in high school doing drama. When I went to college, I stopped doing it. I think growing, becoming an actor, moving to Hollywood or New York to make it as an actor, never seemed realistic.

I went to school at the University of Mississippi, and took writing. I went there to study under some of the writers who I admired and then ended up falling into a group of filmmakers in college who I admired. I met David Gordon Green shortly after I graduated and through David I met Jeff Nichols. It was David who actually recommended me to be in “Shotgun Stories." Jeff put me in that and that’s kind of what started me on the path.

What gave David the confidence to put you up for that part?

I’m not sure. David had maybe seen a short film I had done recently that he dug. I know David had read "Shotgun Stories" and I think there was something he saw in that character that he saw in me. David threw my name in the hat and you know, it just kind of took off from there. I ended up winning the role and it was amazing. I mean, your first film out and you’re working with somebody like Jeff Nichols was pretty special.

Since completing that film you’ve gone on to work with some great young indie filmmakers like Swanberg, Nichols and Ry Russo Young. Clearly you have an affinity for the indie scene.

I guess on some level it’s happenstance. I think I’ve just really been fortunate. There's been no film I did just for a paycheck. They’ve all been something I’ve been super excited about.

Have you consciously tried to stay away from the mainstream market?

I just always want to be working on things that are challenging. With "Dead Man’s Burden," the role terrified me. If I get that feeling when read a script, that’s the role I want the most.

What terrified you about this role? Was it the setting, the character or the genre?

I think it was the character itself. He deserted his family. He's a veteran of one of the worst wars in history. He's suffering from severe post traumatic stress syndrome. And then kind of having all that buried and then coming up and being confronted by his sister... When I say terrifying, it's more that, man, there's so much going on with the character. But this was also a period of time where nobody really expresses themself verbally. What you're really trying to say isn't necessarily what you're saying. The challenge to convey that was terrifying. So it was exciting to do that.

The western genre is generally represented by the studio system. "Dead Man's Burden" is a total rarity in the indie landscape.

I was surprised when Jared approached me with the project. Period pieces are not synonymous with indpendent filmmaking. For Jared to take it on, and for him to take it on the way he did by shooting on 35mm -- I think it's actually something that can be done more. But I think that people just don't take that step. I think one of the greatest thing Jared did with this film was surrounding himself with such an amazing crew. Because of that he was able to pull it off. He had so much experience around him.

Now I have to ask about your part in "The Master." I'm sure you're not privy to tell me a lot. But what can you tell me about your role in the film?

It was amazing. Becoming an actor in your head you make this list of directors you want to work with. Somebody like Paul Thomas Anderson is at the top of my list. It was a huge honor to get to work with him. When you step onto one of his sets, you know that you're going to be working with the best at every level of production. I think it's going to be a super, super powerful film.

So who do you play?

I'm trying to be very careful about what I'm allowed to say. I play a young powerful lawyer in the film...in Philadelphia. That's all about all I feel comfortable saying.

Is it a movie about Scientology?

I can't say! I will say that obviously with this cast -- I feel like everybody just gave phenomenal performances. I cannot wait for it to come out in October and see how people respond to it. It's epic.

Now you've never worked on anything so tight lipped. What is it like to be a part of something like this, that has this level of secrecy surrounding it?

For me it's just more about being respectful of the people who made it. For me it's just exciting being a part of something that's just so big. It's the biggest thing I've ever been a part of. Laura Dern -- getting to work with her; I've admired her forever. I remember my first day on set where I was having dialogue and there's Philip Seymor Hoffman, Amy Adams, Laura Dern and Joaquin Phoenix -- you go into it and you just sit there going, "What is happening?!"

L.A. Film Fest Review: 'The Iran Job' Is A Warm, Winning Tale of One Basketball Player's Experience In Iran

Katie Walsh — Wed, 27 Jun 2012 20:59:00 GMT

During the Q&A after the screening of “The Iran Job,” director Till Schauder described how the idea for a documentary about “journeymen” professional basketball players in Iran came to him before he had a subject that could carry his documentary. His wife and producer Sarah Nodjoumi is Iranian-American, and the political repercussions surrounding these athletes pursuing the dream to play professionally, anywhere, intrigued the filmmaking duo. After starting to film the documentary with a few players who were “nice enough,” they happened upon an American player named Kevin Sheppard, from St. Croix in the U.S. Virgin Islands, and instantly knew he was their man. And aren’t they lucky that they did find Kevin, because “The Iran Job” could be very different if it weren’t for Kevin’s big-hearted friendliness and disarming sense of humor that obliterates cultural barriers. The result is a documentary that combines elements of the sports movie, fish-out-of-water story, political film and personal portrait, offering an entertaining and fascinating look at this one man in this country.

The film quickly introduces Kevin at home in St. Croix, comfortably ensconced with his parents, grandmother and girlfriend Leah. Kevin excelled in the ASC College Basketball conference, but the NBA dream never came true, so he’s traveled the world playing professional basketball in various countries like China and Venezuela. Before long, he’s on the road again, recruited by an upstart Iranian basketball team with designs of going to the Super League playoffs. Pretty soon Kevin finds himself in Shiraz, Iran, with a team of young, inexperienced players, a 7-foot Serbian roommate named Z; in the land of non-alcoholic beer and women covered head to toe. He makes the best of it though, befriending everyone in sight with his easy laugh and affectionately rambunctious nature. The Iranians are not immune to Kevin’s charms, drawn in by his personality, and they are eager to tell him they “love black people!” Which amuses him to no end.

Of course it’s not all easy laughs and new friends, Kevin’s got to lead the last-ranked team into the playoffs; and keep his cool while he does so. In a burst of frustration after losing a game, he kicks a sideline trashcan, which is broadcast on the evening news as an “attack on a bucket.” While it’s played for laughs, the issue is deadly serious, meriting team meetings exhorting Kevin to lead the others by example. This is where the job part of it comes into play: Kevin’s being paid quite a bit to get this team where it needs to go, and that’s his duty. The film moves along at a nice clip, utilizing graphics during each game to show how A.S. Shiraz (his team) moves up and down in the rankings, and the games are shot and edited efficiently, giving only the right amount of information for each one. You will be on the edge of your seat as Kevin hits jumpers at the buzzer, spurred by the wild Iranian fans in the stands who are dancing, singing and playing all sorts of percussion instruments (Kevin isn’t even sure how much of the game they are watching...).

While the game footage is exciting, the film focuses more on Kevin’s life in Iran. He befriends a woman from his physical therapy office, and soon, she and her two girlfriends are hanging with Kevin’s crew. While it seems that Kevin is appreciative for simply the friendship of women, something he has probably taken for granted at home, having been surrounded by empowered women in his life (girlfriend Leah's Skype conversations add a nice opposing representation of American women), this friendship is a whole new ballgame for the Iranian women, who have to sneak out the backdoor of the apartment and hide whenever anyone stops by because it’s illegal for women to be in a man’s apartment. Their talks with foreigners like Kevin and Z offer a chance for them to voice their frustrations and concerns about the situation of women in Iran. For them, it’s not that Islam is so restrictive, but that the Islamic government is, and for a few days during the filming, women are randomly banned from attending sports events.

As the playoffs heat up, so does the presidential election between Ahmahdinejad and Mousavi, and filmmaker Schauder intercuts the basketball contest with the campaign, juxtaposing debates with 3 point shots, and mobs of political protestors with fanatical basketball fans. The way in which he has woven all of these elements together comes to a great climax at this point, seamlessly creating a film that is a sports movie, personal portrait, and political exploration of this country. Kevin says he wants to stay away from politics and just do his job, but if the personal is political, his natural curiosity about his friends and the people he lives with creates the environment for a subtle political message to emerge, or at least an opportunity for some Iranians to have their voices heard. Kevin is there for the Iranian protests that kicked off the Arab Spring, and he realizes that these protestors are just like his friends, could have been them, and that their fighting for their rights is much like the African American Civil Rights Movement in the 1960s which afforded Kevin his.

“The Iran Job” is a highly entertaining, moving documentary that offers a unique perspective on the country through this one man. Many at the Los Angeles Film Festival were affected by it, drawn in by Kevin and his warm personality. Filmmakers Schauder and Nojoumi are attempting to self-distribute the film, and are hoping to do a small theatrical run in the fall. It’s such a warm, winning tale that seeking it out is worth your while. [A-]

Soderbergh's 'Magic Mike' Dangles Its Male Strippers With Skill, But To What End? Answer: Several.

Eric Kohn — Wed, 27 Jun 2012 15:33:41 GMT

A masterful craftsman even when directing fluff, Steven Soderbergh remains one of the more fascinating American filmmakers working today, continually demonstrating an ability to handle wide-ranging projects without blatantly phoning it in. His last two years of releases have included a documentary on monologuist Spalding Gray ("And Everything Is Going Fine"), an apocalyptic ensemble drama ("Contagion") and a martial arts extravaganza ("Haywire"). His latest, "Magic Mike," has much in common with previous Soderbergh efforts in that it glides along at a terrifically entertaining pace. The opposite of camp, "Magic Mike" is conventionally jolly despite appearances to the contrary. Only Soderbergh could turn a movie about male strippers into a universal crowdpleaser.

"Magic Mike" has received plenty of pre-release hype for drawing its story from lead man Channing Tatum's early career experiences as a stripper before his acting career took off, but its basic ingredients are simple enough that it could have been conceived from scratch. Nineteen-year-old shyster Adam (Alex Pettyfer) struggles to figure out his professional calling while living out a drab existence with his sister Brooke (Cody Horn), a serious-minded nurse's aide, in sunny Tampa. Roaming the streets one night, he encounters Mike (Tatum), whom he briefly met during a deadened construction gig. That's when things get funky.

Ever the entrepreneur, Mike immediately notices Adam's aptitude for drawing the opposite sex, and quickly enlists the younger man at the boisterous Club Xquisite, a hugely profitable all-male revue run by the Wonka-esque Dallas (Matthew McConaughey). Anchored by a series of hilariously over-the-top choreography replete with lavish stage design and a lot of undulating torsos, "Magic Mike" nimbly settles into its snazzy coming-of-age story with an emphasis on breezy satisfaction: While ostensibly focused on the hustling Mike's gradual recognition of a higher calling beyond the stage, Soderbergh still relishes the candy-colored stage antics and the giddy rush that viewers of any sexual disposition can get from it. The movie eagerly has it both ways.

With title cards indicating monthly shifts as the story unfolds over the course of a lively summer, "Magic Mike" follows Adam's downward spiral into the seedy party life that Mike slowly realizes he has outgrown. Soderbergh's roaming camera has fun with the details (a backstage instance of penis inflation marks his cleverest use of mise-en-scene in some time, as it simultaneously catches Adam's gaping eyes in the background). But Soderbergh also sits still for pensive moments that routinely assert the serious narrative sustaining the good vibes, particularly once Mike takes a romantic interest in Adam's conservative-minded sister and must confront her measured disdain for his profession.

As the only fully sane person in the movie, Horn handles her role well enough, but Tatum owns "Magic Mike" more than its director, displaying heretofore unseen levels of charisma and attitude that provide the realistic counterpoint to McConaughey's cartoony showmanship. (If the movie only focused on him, it would fly off the rails.) An aspiring designer with business smarts to spare, Mike is the movie's soul, both onstage and off.

Like nearly every Soderbergh movie since "The Girlfriend Experience," the script contains innumerable zeitgeist references, mainly tagged to the struggling economy. Dialogue frequently centers on the imperative behind the gig: The strippers' job calls for "25% dancing and 25% marketing," in the words of one practitioner (the other 50% is left undefined, but after all, it's a part-time gig). Several conversations revolve around get-rich-quick schemes of various other forms (a throwaway line name-drops Robert Koyosaki's "Rich Dad Poor Dad: What the Rich Teach Their Kids About Money"). As a fancier upgrade for the club members in Miami looms, "Magic Mike" heads toward an inevitable confrontation and climax. By the time Mike pleads "I'm not my lifestyle," his exoneration has been evident for an hour.

Most audiences, expecting something closer to a masculine "Showgirls," might be surprised by the relatively serious tone: "Magic Mike" crams together several derivative subplots that dangle (sorry) around energetic striptease sequences enacted with the ostentatiousness of an MGM musical. It's such a slick, er, package that one can easily overlook the lack of originality as things veer toward a series of clichéd resolutions.

Mike's flailing bids to win over Brooke's heart work better than a half-baked drug-dealing subplot, and the stage antics always steamroll the allure of everything else. However, a lot of its shortcomings are only apparent in retrospect. Soderbergh hugs a familiar arc that makes its path visible long before it arrives at various twists, but even when revealing its secrets, "Magic Mike" casts a seriously entertaining spell.

Criticwire grade: B+

HOW WILL IT PLAY? Warner Bros. releases "Magic Mike" this Friday in the wake of mostly positive early reviews. It will likely perform decently as mainstream counterprogramming to the bigger popcorn fare and emerge as one of the summer's sleeper hits.

'Magic Mike' Reveals Himself and Critics Like What They See

Devin Lee Fuller — Mon, 25 Jun 2012 17:08:28 GMT

Steven Soderbergh's much anticipated new male stripper movie "Magic Mike" finally screened for critics last night as the closing night film of the Los Angeles Film Festival. So did the film impress like the bodies on display?

So far the early buzz has been positive, especially with regard to Channing Tatum's performance. While the film has been described as "'Showgirls' with men," critics say the film offers more than just hot guys in g-strings by reflecting on age, money and the cost of pseudo-fame, although at least one thinks the film doesn't go far enough in embracing its tawdry nature.

But most critics expect the film will be a hit amongst women and gay men, who will undoubtedly flock to the theater to see Tatum, Matthew McConaughey, Alex Pettyfer, Matt Bomer and Joe Manganiello take it all (mostly) off. Check out some of the early thoughts below:

David Rooney, The Hollywood Reporter
"There’s a looseness and buoyancy to the filmmaking and to the naturalistic performances that keeps the story real, and while many of the key cast members have relatively little to do, even the smallest roles add texture. Tatum’s balance of breezy confidence and nagging restlessness is just right, while Pettyfer scores as the cocky new recruit dazzled by his sudden demi-celebrity."

Peter Debruge, Variety
"Ladies are gonna love "Magic Mike," a lively male-stripper meller inspired by Channing Tatum's late-teen, pre-screen stint as an exotic dancer. More low-calorie fun than any Steven Soderbergh movie since "Ocean's Eleven," this breezy offering ought to be subtitled "How Steven Got His Groove Back," as its typically high-minded director drops pretentions like tear-away pants. Meanwhile, enlisting a squad of Hollywood hunks to strip down to their thongs alongside him, Tatum (backed by producing partner Reid Carolin) drains the shame from a profession that gets no respect, serving up a guiltless girls' night out likely to rank among the summer's word-of-mouth sensations."

Kate Walsh, The Playlist
"It would seem that Soderbergh and Tatum are an odd couple, but Soderbergh has achieved a rare director/star symbiotic relationship with Tatum in this film—one where the director is able to fully distill the essence of his star and showcase his natural aura and charm in the very best light. The film is Tatum’s and he fills the screen with his easy smile and relaxed flirtation. He seems at home, at ease, probably because he’s playing a version of himself, but unlike other roles where he sometimes comes off as stiff (ahem) and tense."

Jen Yamato, Movieline
"One could simply call it absolutely spectacular on account of the man meat, which certainly delivers on raunchy, knowing fun. But it’s the deeper themes, captured in an observational style, that really make "Magic Mike" work as more than just a cheap thrill. It may be a stripper movie, but it’s also about economic self-determination and the struggle between art vs. commerce — and that goes as much for Soderbergh and Tatum as it does for the characters grasping for dollars, and their creative destinies, on-screen."

John Hazelton, Screen Daily
"With a milieu that’s more entertaining than its story, Steven Soderbergh’s "Magic Mike" casts Channing Tatum somewhat against type as a male stripper with entrepreneurial ambitions. The raunchy setting will certainly get the film noticed but it’s doubtful that Tatum fans will turn out in their usual numbers for this rambling, mildly edgy comedy drama."

Fred Topel, Crave Online
"It really feels like they’re embarrassed to make the male stripper movie, but they totally half assed the story anyway. Just be honest and do the male stripper movie. People will respect you more for that."

Early Review Roundup: 'Magic Mike' Has Bare Bods, Backstage Fluffing and Right Amount of Heart

Beth Hanna — Mon, 25 Jun 2012 16:56:48 GMT

Early reviews are coming in for Steven Soderbergh's male stripper confection "Magic Mike," the closing night gala at LA Film Fest. The ever adventurous Soderbergh seems to be in good form, working with a solid script and raucous performances, while tapping into the male camaraderie from his "Ocean's" series. Review excerpts and links below.

Check out TOH's takeaways from EW'S feature piece on "Magic Mike" here, and the film's red band trailer and our TOH poll here. We'll report back after seeing the film on June 27.

Peter Debruge, Variety:

"Soderbergh is in excellent form here, putting aside the ambitious experimentation that threw a wet blanket on such ostensibly sexy projects as 'Full Frontal' and 'The Girlfriend Experience,' while re-embracing the shooting techniques missing from 'Contagion' and 'Haywire.' (Once again, he serves as his own d.p., under the pseudonym Peter Andrews.) Tatum reportedly first approached Nicolas Winding Refn about making 'Magic Mike,' but here he has the benefit of not only Soderbergh's commercial savvy, but also the good-humored generosity and keen anthropological interest the helmer brings to every project. No moment captures that sensibility better than an oblique glimpse of backstage 'fluffing' sure to rank among the year's most amusing shots."

John Hazelton, Screen Daily:

"Soderbergh gives the film a distinctive look and an almost verité feel that produces some effective sequences over the story’s early stages. Tatum is solid but a little bland as Mike. Pettyfer’s performance has a bit more edge and McConaughey steals several scenes as the raucous yet hard-headed Dallas."

David Rooney, The Hollywood Reporter:

"Following its closing-night premiere at the Los Angeles Film Festival, the Warner release should rake in girl and gay dollars on the strength of its ample man candy alone. The script by first-time screenwriter Reid Carolin (Tatum’s producing partner) is stronger on dialogue and character than on narrative originality or emotional conflict. But as Soderbergh showed in his 'Ocean's Eleven' series, the director has a terrific feel for depicting male camaraderie, and the buddy elements should give 'Magic Mike' inclusive appeal."

Katie Walsh, The Playlist:

"It would seem that Soderbergh and Tatum are an odd couple, but Soderbergh has achieved a rare director/star symbiotic relationship with Tatum in this film—one where the director is able to fully distill the essence of his star and showcase his natural aura and charm in the very best light. The film is Tatum’s and he fills the screen with his easy smile and relaxed flirtation... And, we can’t forget the ladies (though it is a man’s, man’s, man’s world in this movie). Soderbergh attempts to flip the script of the traditional feminist text, showing how women objectify, use and discard these men. Olivia Munn's role is slightly more than an extended cameo as a grad student getting her rocks off with Mike, and the same can be said for Riley Keough as a strung out paramour of The Kid."

'All is Well' and 'Drought' Take Top Prizes at the Los Angeles Film Festival

Dana Harris — Mon, 25 Jun 2012 14:57:59 GMT

Pocas Pascoal's "All is Well" and Everard Gonzalez's "Drought" received the Los Angeles Film Festival's narrative and documentary awards today at a ceremony in downtown Los Angeles, hosted by Jon Heder and Ari Graynor. Each filmmaker receives a $15,000 cash prize.

An honorable mention for narrative feature went to Dominga Sotomayor for "Thursday Till Sunday."

The award for best performance in the narrative competition went to Wendell Pierce, Emory Cohen, E.J. Bonilla and Aja Naomi King for Joshua Sanchez’s "Four."

The LA Film Fest also awarded an unrestricted $5,000 cash prize to each short film category.

The award for best narrative short film went to "The Chair," directed by Grainger David. The award for Best Documentary Short Film went to Josh Gibson for "Kudzu Vine". Joseph Pierce’s "The Pub" won for Best Animated or Experimental Short Film. Each filmmaker receives a $5,000 cash prize.

The Audience Award for best narrative feature went to "Beasts of the Southern Wild," directed by Benh Zeitlin and the Audience Award for best documentaryfeature went to "Birth Story: Ina May Gaskin and The Farm Midwives," directed by Sara Lamm and Mary Wigmore. "Searching for Sugar Man," directed by Malik Bendjelloul, won the audience award for best international feature.

The Audience Award for Best Short Film went to "Asad," directed by Bryan Buckley. "Piranhas Club," directed by Lex Halaby, won the audience award for best music video.

The Narrative Feature Competition jury was comprised of actress Rachael Harris, actor/writer/producer/director Robert Townsend and film critic Sheri Linden. The Documentary Feature Competition jury was comprised of producer Heather Rae, producer Karin Chien and director Mark Landsman. The Shorts Competition Jury was comprised of film critic and author Ernest Hardy, cinematographer Nancy Schreiber and writer/director/editor Javier Fuentes León.

L.A. Film Fest Review: Entertaining Romp 'Magic Mike' Will Put Its Spell On You... And Shake It Like Nobody's Business

Katie Walsh — Mon, 25 Jun 2012 04:16:53 GMT

There’s just something about Channing Tatum. Clearly, he’s got that magic touch (why else would Paramount be reshooting “G.I. Joe: Retaliation” to add more Chan?), a certain je ne sais quoi that would inspire veteran auteur Steven Soderbergh to bring his early life story as a Florida stripper to the silver screen, while making the ultimate male stripper movie in the process. It just so happens to be a really good film too, one that’s about more than just shakin’ what the good Lord bestowed on Mr. Tatum and pals.

Despite what the marketing may have you believe, the film is a two-man show: Alex Pettyfer plays Adam, aka The Kid, Mike’s protégé and foil in this tale of money, work and excess. The Kid’s a recession-era Millennial just trying to make a buck, fuck and get fucked up. Maybe he has no lines in the trailers because that kind of thing won’t get butts in seats (as opposed to Tatum’s butt in various ladies’ seats). Mike runs into the down and out Kid at a roofing gig and gives him a ride home after his car breaks down. Mike seems to have it all, nice ride, a decent job, and The Kid latches onto him when he runs into Mike later that night in downtown Tampa, escaping dinner conversation about health insurance policy with his sister (Cody Horn) and her date. Mike’s his ticket to the booze and the girls, but it comes at a price when Mike brings him along to the XQuisite Male Dance Revue to help out and earn some scratch.

There ensues our introduction to the rest of the dancers: Big Dick Richie (Joe Manganiello), Tarzan (WWE wrestler Kevin Nash in splendid flowing brunette locks), Ken (Matt Bomer), Tito (Adam Rodriguez), and of course, our emcee, Dallas (Matthew McConaughey). Manganiello displays some refreshing humor uncharacteristic to his stoic “True Blood” werewolf, and even goes in for some “Austin Powers”-esque Swedish penis enlarger sight gags. After Tarzan is felled by a mighty dose of GHB, wouldn’t you know it, Mike pushes The Kid out on stage to strip to his skivvies, and thus, a star is born… or at least a cute dude willing to take his pants off and dry hump some willing ladies. Oh, and dry hump they do. They dance to “It’s Raining Men” in sparkly trench coats and umbrellas. There are all manner of routines involving soldiers, sailors, boxers, cowboys, paramedics, and Tarzan (duh), though they aren't going to win any awards for choreography, it's not really about the creative drive behind the dance, it's about the money, honey. But, Tatum dances his heart out and performs the best Dancing Alone to Pony number to ever grace a screen. He dances like he is trying to earn the Lifetime Achievement Award for Excellence in Pelvic Thrusting. Newsflash: it’s won. He wins it. No one can match his rate of thrusts per minute.

It would seem that Soderbergh and Tatum are an odd couple, but Soderbergh has achieved a rare director/star symbiotic relationship with Tatum in this film—one where the director is able to fully distill the essence of his star and showcase his natural aura and charm in the very best light. The film is Tatum’s and he fills the screen with his easy smile and relaxed flirtation. He seems at home, at ease, probably because he’s playing a version of himself, but unlike other roles where he sometimes comes off as stiff (ahem) and tense. The focus on Tatum is to the detriment of the other male dancers in the XQuisite Male Dance Revue. The humor and group camaraderie showcased at the beginning of the film is unfortunately squandered to focus on the drama and deeper issues surrounding their line of work and the lifestyle that comes with it. Mike’s got dreams of starting his own business (custom found object furniture!), while The Kid just wants to enjoy his newfound disposable income. But, they forge a best friendship, helped in no small part by Mike’s flirtation with The Kid’s sister. While he gets deeper into the world of drugs, sex and money, Mike is trying to extricate himself, and it all turns into a big, complicated mess.

This is a movie that is, at its core, about money and industry and earning an honest living. In the script by Reid Carolin, you will be surprised by how many times you hear the word “equity” come out of the mouths of beefcakes; the only thing these guys ever talk about offstage is markets, investing, stocks, etc. Everything is driven by and leads back to money, Mike's trying to get a small business loan juxatposed with The Kid going in on a pack of ecstasy pills with their dealer DJ. The promise, allure and threat of sex permeate the film, but there are no real sex scenes. There are, however, bikinis stuffed to the brim with ones, Mike ironing his precious bills to save up, and Mike and Dallas constantly arguing over their shares in a planned Miami extension of the club. Economics are the throbbing core of this film, more than any thrusting pelvis of one Mr. Tatum, and because it has real issues behind the lighthearted and fun entertainment, it’s way more than just a night at the Thunder From Down Under.

As for Mr. McConaughey-- seasoned pro and emcee Dallas is the role he was born to play. That’s all there is to it. Of course he does his “alright, alright, alright” thing, but in his offstage moments, where he slips seamlessly between showman and businessman, is where his true genius shines. He is at once a playful good ol’ boy and threatening master manipulator. Oh, and his final performance is, simply, transcendent. As the co-lead, Alex Pettyfer demonstrates his chops. He’s the perfect flip side of the coin to noble, chiseled Mike, all skinny and scruffy, growing from naïve, confused kid to wheeler and dealer. It’s probably the more difficult performance than the natural extensions of the personas of Tatum and McConaughey, as charming as they may be. Pettyfer has no redeeming moment in this film; he remains a bumbling, selfish jerk, who stumbles on his fortunes and has no idea that he's betrayed the only people who've taken care of him in this whole situation.

And, we can’t forget the ladies (though it is a man’s, man’s, man’s world in this movie). Soderbergh attempts to flip the script of the traditional feminist text, showing how women objectify, use and discard these men. Olivia Munn’s role is slightly more than an extended cameo as a grad student getting her rocks off with Mike, and the same can be said for Riley Keough as a strung out paramour of The Kid. Cody Horn gives a strong supporting performance as Brooke, a fierce and protective sister to her brother, a tough cookie who can’t help but be drawn in by Mike’s magic, despite its lurid nature. Horn and Tatum have a winning chemistry together, but this is not a romantic comedy-- instead it's more of a Chippendales Butch and Sundance gone sour.

Soderbergh has delivered an entertaining and expertly paced film about male stripping that is about more than just stripping, dealing with some universal issues like work and age and money and sex. Stylistically, the film has a hazy yellow sheen that hangs over every frame, emphasizing the lens flare of twinkling lights, neon signs, and the glistening ocean of Florida, though it's not very pretty. There are some moments where he plays with primary color lighting during some heavily stylized, subjective ecstasy-feuled romps that are clever and beautifully shot. Yet, he has made a very mainstream film, a hit right to the sweet spot. But, it’s full of heart, and it seems likely that audiences will fall under Mike’s spell too. Just try and resist. [B+]

11 Reviews from the 2012 LA Film Festival: 'Beasts,' 'To Rome With Love' and More

Indiewire — Fri, 22 Jun 2012 21:33:37 GMT

This year's the Los Angeles Film Festival featured everything from apocalyptic romances to Cuban zombies. With the festival winding down, we've compiled a list of reviews by Indiewire film critic Eric Kohn to streamline your recapping experience.

Beasts of the Southern Wild
Supremely ambitious and committed to profundity, "Beasts" sets the bar too high and suffers from a muddled assortment of expressionistic concepts, but it still manages to glide along its epic aspirations.

Juan of the Dead
"Juan of the Dead," Cuba's first zombie movie, has garnered attention just for its mere existence-- a zom-com shot on location in Havana! What a new and exciting cinematic oddity! Despite, and because of, its exotic origins, "Juan of the Dead" lives up to the hype, more than delivering the goods as a raucous horror comedy deeply school in the zombie genre and with a uniquely Cuban flavor.

Gimme the Loot
"Gimme the Loot" simply observes its charming ne'er-do-wells as they hurtle through an inner-city lifestyle with little choice except to keep moving forward. From the first scene, in which the duo awkwardly jack paint canisters from a store and hop into their getaway car, Leon establishes his characters as a pair of lawbreakers living on the fringes of society but remain essentially innocent, giggly children. Inhabiting the same bubble of hip-hop attitude as "Wild Style" did nearly 30 years earlier, Leon's movie resurrects the subculture with genre charm and low-budget appeal.

Searching for Sugar Man
When 1970s Mexican-American singer-songwriter Sixto Rodriguez faded from view, he'd never had much visibility in the first place. Typically known only as "Rodriguez," the musician's gentle pop tunes and activist spirit came through in a handful of albums that were barely noticed in the U.S. However, "Searching for Sugar Man," documentarian Malik Bendjelloul's remarkable chronicle of Rodriguez's neglect on his home turf and unexpected stardom in South Africa, compellingly argues for his place in the canon of great American rock stars, whether or not he wants the spot.

Dead Man's Burden
There is no creaky saloon or jangle guitar score in "Dead Man's Burden," the directorial debut of indie producer Jared Moshé, but its spectacular desert vista, sunburnt and caked in dust, lends the convincing aura of a magnificent Western. While technically a highly contained drama involving no more than four main characters and three locations, "Dead Man's Burden" benefits from its small scale by boiling down the genre to its barest ingredients. It has Western spirit in its bones, if not the means to pull it off on a grand scale, but that's enough to do justice to the grimy, bullet-battered standards it aims to satisfy.

Red Flag
Whether truly narcissistic or an eloquent portrait of narcissism, Alex Karpovsky's "Red Flag" is an utterly hilarious ode to the modern struggles of the microbudget American filmmaker. While the prolific Karpovsky has starred in Andrew Bujalski's "Beeswax" and Lena Dunham's "Tiny Furniture" -- and more recently appears in Dunham's "Girls" -- his trajectory behind the camera predates those notable turns. "Red Flag" merges his skills as actor and filmmaker better than anything preceding it by telling a quasi-autobiographical story.

Sun Kissed
The debilitating genetic disorder Xeroderma Pigmentosum makes sunlight fatal to those afflicted with it from a young age and leads to a dwindling neurological condition that eventually culminates with death. Medical specialists usually discuss it as an extremely rare condition that surfaces among one in a million people, but compared to the larger population, its occurrences among descendants of Navajo clans virtually form an epidemic. The American Indian has never had it easy, which makes the recurrences of XP into an eloquent distillation for the greater struggles of a long-suffering minority. Maya Stark and Adi Lavy's documentary "Sun Kissed" does just that to extremely powerful effect, as it follows a couple in search of the cause for their children's fatal condition and forced to confront the nature of their entire history.

Crazy and Thief
Shot on the cheap and co-starring his two very young children, "Crazy & Thief" is a gentle treat for McAbee enthusiasts and a mildly curious study of juvenile behavior for everyone else, which is certainly enough to satisfy this fan. Adorable to the extreme, the movie centers around McAbee's children Vy and John, alternately identified by the titular names as well as "Johnny" and "Yaya," informal designations that fit their youthful spirit.

It's a Disaster
Because it only cuts surface deep, "It's a Disaster" gets away with using its disposable science fiction backdrop in service of an effective message. "This whole end-of-the-world thing has really got me reexamining our relationship," one character says. In its relentless display of romantic dysfunction, "It's a Disaster" caustically asserts that even the most foolhardy relationships are prone to spontaneously erupt.

Seeking a Friend for the End of the World
"Seeking a Friend for the End of the World" valiantly tries to inject a familiar premise with renewed emotional discernment and instead flails about in search of it. The directorial debut of screenwriter Lorene Scafaria ("Nick & Norah's Infinite Playlist"), "Seeking a Friend" follows a pair of would-be lovers on a meandering road trip that takes place in the weeks leading up to the destruction of the Earth, a tried-and-true set-up that provides a simple backdrop for exploring lost souls in search of meaning in their final days. While smartly observant in individual moments, however, Scafaria's thinly conceived story fails to deepen its scenario beyond the basic allegorical possibilities of the oncoming apocalypse.

To Rome With Love
Funny in fragments, Woody Allen's "To Rome With Love" is crammed with enough unrelated incidents to fill one of his short-story collections and has the same lack of cohesion. The director's latest European excursion eagerly satirizes a touristic point of view while simultaneously indulging it by romanticizing the titular scene. As usual from Allen, the first-rate cast -- a much larger collection of international faces than his last few ventures -- relishes the opportunity to dig into Allen's frantic one-liners and self-deprecating wit. But even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.

LAFF: 'Middle of Nowhere' Gets Two Standing Ovations; DuVernay & Cast Talk Black Films Reaching Audiences In A Meaningful Way [New Teaser]

Sophia Savage — Fri, 22 Jun 2012 19:39:15 GMT

Ava DuVernay's "Middle of Nowhere" played to a full house and two standing ovations at its Gala screening at the LA Film Fest on June 20. It was the film's first public screening after it won DuVernay the Directing Award at Sundance (she attended the festival as a publicist nine times prior). It's easy to see why the award went to outspoken DuVernay (stiff competition included "Beasts of the Southern Wild"'s Benh Zeitlin); the drama is honest and immersive, moving and sexy, funny and unexpected. It will hit theaters October 12 through DuVernay's AFFRM distribution collaborative. Check out the synopsis, new teaser trailer and Sundance's interview with DuVernay below.

The film's stars, Emayatzy Corinealdi, Omari Hardwick, Lorraine Toussaint, Edwina Findley and Sharon Lawrence (David Oyelowo was absent) joined DuVernay on stage for a Q & A with Elvis Mitchell following the screening. The entire cast delivers exceptional performances, anchored by Corinealdi with an impressive feature film debut.

DuVernay's script and instincts as a director were gifts to her actors; the sense of trust and affection between them is apparent. Toussaint, who plays the mother of Corinealdi and Findley's characters, Ruby and Rosie, says, "Something about Ava is magical; the first time we all came together it was chemical. [Right away] we fell together as a family and started working and loving each other." Toussaint adds that the film was "about what was on the page as much as what wasn't. She wasn't afraid of the silences, as a director." Toussaint considers her character an "homage to mommas," and not just black ones.

Findlay calls DuVernay "A one-take wonder. She knows when she has it. She has a great eye which makes you feel calm." For her, the film is a lot about parent-child relationships -- touching on the desperate need for validation, as well as the instinct to rebel while each each of us searches for love and acceptance, grasping for a sense of self and identity.

Hardwick, who worked with DuVernay in her feature debut, "I Will Follow," and stars in "Nowhere" as Ruby's incarcerated husband, believes she is "very special and very different" as a director. "She's got just enough loneliness and just enough family," and he believes that her balance of the two allows her to relate to her actors in a different way. His biggest challenge was to make his character "a very vulnerable little boy," and says you need a good director "to get you to those dark miserable spots." He considers most directors he's worked with to be insecure, whereas DuVernay is "equally as confident as the characters she's writing and the actors she's hiring." He believe's the "non-apology of that motive and locomotive" will allow people to discover this film as something worth seeing, regardless "of the color of the people playing the parts."

Corinealdi is confident the art of the film speaks for itself and that it will find its audience. DuVernay is more wary. She believes the audience for this film needs to be cultivated and trained to see black people in this environment (an indie one, free of stereotypes where black people are the center of legitimate and artful human dramas). "These movies are being made," she says, "They just aren't being presented to people [of any race] in a meaningful way." She does believe this can change, that this content can be subliminated throughout the country. That's what AFFRM is trying to do.

DuVernay isn't afraid to admit that she asked co-distributor Participant outright, "what kind of movie will white people go see with all black people in it." She wants "Middle of Nowhere" to be widely seen (there is absolutely no reason why it shouldn't be). DuVernay asks the audience what recent widely released films featured mostly black characters? "Precious" - yes, she agrees (and worked on publicizing it) but cringes. When someone offers "Men in Black: III," she is shocked, "You qualify that as a black film?!" There's more pride when she mentions the limited release of Dee Rees' "Pariah" (winner of Indie Spirits' Cassavetes Award).

Toussaint believes studios' fear that black actors don't sell films overseas is a myth. But she says, "We've got to do it ourselves. Tell our own stories, sell our own films, get our voices heard." She adds, "Ava is walking the talk. Change is afoot."

Synopsis: What happens when love takes you places you never thought you would go? When her husband, Derek, is sentenced to eight years in a California prison, Ruby drops out of medical school to maintain her marriage and focus on ensuring Derek's survival in his violent new environment. Driven by love, loyalty, and hope, Ruby learns to sustain the shame, separation, guilt, and grief that a prison wife must bear. Her new life challenges her to the very core of her identity, and her turbulent path propels her in new, often frightening directions of self-discovery.

Shadow and Act has their new poster. The new teaser trailer is below:

L.A. Film Fest Review: 'A Band Called Death' Rewrites Punk History, And Tells An Emotional Story of Faith And Family

Katie Walsh — Fri, 22 Jun 2012 16:01:00 GMT

Nope, not The Ramones, The Clash or the Sex Pistols. Not even Bad Brains. The true punk pioneers were a band called Death, straight out of the Motor City, Detroit, and you’ve probably never heard of them until now. Thanks to some obsessive record collectors, a whole lot of serendipity, and a new documentary from Mark Covino and Jeff Howlett, Death just might be getting the retroactive respect they are more than overdue. As Henry Rollins states, it’s a great music story and Covino and Howlett have successfully transferred it into an entertaining, moving rockumentary.

Death was formed in the early '70s by three brothers in Detroit, Bobby, Dannis and David Hackney. The film opens with the surviving members, Bobby and Dannis reminiscing about their childhood and early days of Death while exploring their old home in Detroit. It immediately becomes clear that the presence of David looms large and and that his boundless energy and unique vision were the driving creative force and motivation in Death’s genesis. Growing up in a spiritual and Motown-loving household, the Hackney brothers rattled the neighborhood with their first rock band, Rock Fire Funk Express (best band name ever?) until a fateful Detroit concert by The Who that inspired David to take the band in a more rock-oriented direction. Death warred with the neighbors over their sound, and the community resistance inspired them to amp up the aggressiveness, developing a proto-punk sound with barking vocals by Bobby.

After their preacher father was killed by a drunk driver, David decided that instead of rejecting death, he would embrace it, changing the name of the band and adopting the idea that death is real as a part of his guiding spiritual vision. They recorded an album at the legendary United Sound Studios in Detroit, but time and time again, ran up against rejection because of the band’s name. But David was steadfast in his convictions, and refused to change anything about Death to conform to someone’s idea of what they should be, and he even walked away from a lucrative contract with Clive Davis in order to preserve his artistic integrity. The brothers eventually ended up in Burlington, Vermont, and the band drifted apart; David moving back to Detroit and Bobby and Dannis pursuing a career with their reggae band Lamb’s Bread. Death was all but forgotten, and while David’s health declined, he remained steadfast in his belief that someone, someday would be interested in Death. Before passing away from lung cancer in 2000, he even brought the Death master tapes to Bobby’s house and told him he wanted to keep them safe for when someone came calling.

Until this point in the film, “A Band Called Death” has entertained and kept the story moving swiftly along on the sheer charm of Bobby and Dannis Hackney. The two brothers are captivating storytellers with a good sense of humor and are emotionally open with the process (it probably helped that filmmaker Howlett has known them for 20 years). Oldest brother Earl is also a funny and lively presence in enhancing the family stories. The aesthetic relies heavily on interviews with the brothers and family photos stitched together with audio recordings of David and the band. An opening sequence featuring interviews with people like Rollins, Kid Rock, Elijah Wood, Alice Cooper and Questlove immediately establishes the band's current respect in the music community. But once the emotional groundwork is laid, the film ramps up as it lays out the story of Death’s discovery. It feels a little incongruous when the film suddenly introduces a bunch of new characters, those obsessive record collectors who dug up Death, and especially Bobby’s three sons, who play a crucial role in the completely inexplicable tale of how Death was reanimated. It’s a wildly implausible situation that is only manifested through chance, the Internet grapevine and some very determined collectors. But after the film's establishment of David’s unwavering faith in Death, and prophetic messages to his brothers about Death's posthumous appreciation, this coincidental story seems ordained from above.

And that’s really what “A Band Called Death” is about: the steadfast conviction of one visionary artist who never abandoned what he believed in, and the brothers who backed him up, and are now helping to keep his memory, and his music alive. And damn if the music isn’t some of the tightest, grittiest garage punk you’ve ever heard. The lost Death album has been re-issued by Drag City Records, and you will most likely run, not walk to pick up a copy of Death For the Whole World To See featuring the scorchers “Politicians in My Eyes,” and “Keep on Knockin.’ ” It just might not sound the same without the unlikely backstory found in the film “A Band Called Death.” This rock doc rewrites punk history while telling an emotional story about an artist’s spirit and his faithful family. [B+]

Here's the trailer below.

Review: David Cross, Julia Stiles, America Ferrera and More Charm in Todd Berger's Satisfying Apocalyptic Couples Drama 'It's a Disaster'

Eric Kohn — Fri, 22 Jun 2012 13:47:45 GMT

Editor's note: The following review originally ran during the L.A. Film Festival. "It's a Disaster" opens in limited theatrical release this Friday. It's also currently available on VOD platforms.

Character studies set during the advent of the apocalypse are so common these days they practically form their own genre, but "It's a Disaster" manages to stand out from the crowd by having as much fun as possible with the grim scenario. A largely uneven satire set entirely within the confines of a suburban home, "It's a Disaster" may have flowed better on the stage. However, writer-director Todd Berger, improving his technique with his second feature-length credit following "The Scenesters," combines enough energetic performances with charged wit to make this one doomsday comedy that earns the right to its familiar backdrop.

The movie begins rather clumsily as a relationship comedy that unfolds with little to amuse beyond the material for an average episode of "Curb Your Enthusiasm." The newly dating Tracy (Julia Stiles) and Glenn (David Cross) arrive at the home of Tracy's married pals Emma (Erinn Hayes) and Pete (Blaise Miller) for an awkward "couples brunch" to allow Glenn to meet Tracy's friends. These also include the eternally engaged Hedy (America Ferrera) and Shane (Jeff Grace) as well as the pleasure-seeking polygamous couple Lexi (Rachel Boston) and Buck (Kevin Brennan).

Berger's camera just observes as the group engages in neurotic gossip and small talk, unaware of the gradual accumulation of ominous events taking place outdoors. Tensions suddenly rise when it becomes clear that Emma and Pete are planning a divorce, but before they can brief their friends, they're forced to confront the larger issue of dirty bombs going off downtown. Dead bodies pile up outside, sirens roar in the distance and so on, but the real problems remain within the home.

In the ensuing conflicts that follow, the ensemble routinely bounces off each other to bicker about priorities, allegiances and other pithy issues while the sky slowly turns gray. Berger's screenplay touches on innumerable themes with the restlessness of an ADD comedy routine, although he hits more and more targets as he moves along: Adultery, religion, commitment and existential despair all come into play and get thoroughly ripped apart.

Set entirely within the confines of the home, "It's a Disaster" shifts between a variety of configurations that finds its characters forming allegiances and sharing secrets throughout the house before coming together for a hilarious dark punchline that calls to mind reports of the original pie fight Stanley Kubrick planned for the climax of "Dr. Strangelove." With its erratic pace and overly derivative character types, "It's a Disaster" comes nowhere near touching the satiric heights of Kubrick's movie, but it follows a similar trajectory on a more contained human scale rich with contemporary humor.

While Berger's script meanders at times and most of the gags induce chuckles rather than guffaws, the cast invests in the material to a degree that carries it through numerous rough patches. Ferrera, the medical specialist of the group, stands out for her amusing transition into its most dour member, as she accepts imminent death and starts binging on fast food and every drug within her reach. The always goofy David Cross, meanwhile, appears content to act in a movie of his own, routinely popping into a room at inopportune moments and steadily creeping everyone out. Stiles is characteristically restrained, but gets a fleeting chance to show off her nuttier side in the satisfying finale when everyone's agenda finally erupts.

Because it only cuts surface deep, "It's a Disaster" gets away with using its disposable science fiction backdrop in service of an effective message. "This whole end-of-the-world thing has really got me reexamining our relationship," one character says. In its relentless display of romantic dysfunction, "It's a Disaster" caustically asserts that even the most foolhardy relationships are prone to spontaneously erupt.

Criticwire grade: B

LAFF Q&A: 'The Newsroom' Star Alison Pill Talks Woody Allen, Aaron Sorkin and the Thing About Hollywood That She Finds 'Disgusting'

Jay A. Fernandez — Thu, 21 Jun 2012 16:24:19 GMT

This week, the 2012 Los Angeles Film Festival showcases Alison Pill in two of the highest-profile projects in the program: Woody Allen’s opening-night feature “To Rome With Love” and Aaron Sorkin’s new HBO series “The Newsroom,” the pilot of which will screen Friday, June 22. The Canadian 26-year-old has long made a point of seeking high-strata work like this in television, theater and film.

Indie movies such as “Pieces of April,” “Milk,” Scott Pilgrim vs. the World,” and “Goon” pepper her resume, and her jaunty performance as Zelda Fitzgerald in Allen’s 2011 breakout “Midnight in Paris” brought her a new level of recognition. On the TV side, Pill played a student diagnosed with cancer in the second season of HBO’s critically acclaimed series “In Treatment,” while her theater work has included parts in “The Miracle Worker,” “Reasons to Be Pretty,” “The Lieutenant of Inishmore” and “Blackbird,” in which she co-starred with “Newsroom” lead Jeff Daniels. As a newly engaged American abroad, Pill's character in "Rome" must navigate the awkward tug-of-war between her Italian fiance and her crusty retired father, and in "Newsroom" she plays an associate producer of a nightly news show convulsing through a major identity crisis.

Her eclecticism and avoidance of most studio-backed projects is no accident, and while Pill’s goofy charm and enthusiasm were on display at a recent press day for “To Rome With Love,” so was her ardent feminism. Pill’s the kind of woman who seems eager to take a stand -- and she’s the rare bird that doesn’t lose her smile even when expressing the fierceness of her opinions.

To get a sense of what Pill really thinks of Woody’s take on young women, the infuriating standards of studio meddlers, the appeal of playing a happily sexual woman, tolerance for gratuitous T&A or the challenges of speaking Sorkin’s “musical dialogue,” read on.

What’s it like having Woody Allen play your dad?

It’s as surreal as being in a Woody Allen movie. It feels like it’s all a dream and still could be. He’s incredible, and one of the most amazing comedians working today.

Woody has a reputation for not directing his actors that much. Did you find that true compared to other directors? What kind of input does he generally give you?

It’s usually pretty basic. For “Midnight in Paris,” it was really just, “She’s southern and the life of the party.” I was like, OK. I think he’s grown to have trust in his instincts enough that he’s not going to choose somebody who would come in unprepared or be a jerk. Once you find somebody who’s not a jerk and wants to be in your movie, then they’re usually going to do as good a job as they possibly can. And I think he trusts that.

This is your second go-round with Woody. Aside from just working with him generally, what appealed about doing the “Rome” character? Did you see the script beforehand?

Yeah, I got our whole storyline. I had no idea what the other storylines were, like Roberto Benigni’s. And we never met each other. Greta [Gerwig] and I knew each other in New York and saw each other last night. We were both like, “Ah! We’re in the same movie!” On this one, I really just got to laugh at everything and sort of be part of the crew.

How long were you in Rome?

I was there for about a month, the month of August. It was hot as balls! It was awful! Also, there are no Romans in Rome in August. They’re all at the beach, they’re all gone. So you’re sort of like, “Oh, I see, you’ve taken the wise choice, Romans…” Just us and the tourists.

What’s your feeling about how Woody writes young women? Do you think he gets it right?

Ellen Page’s lines in that movie are so hilarious and amazing, and Alec Baldwin’s responses to them are just genius. That’s the thing, is that ultimately Woody Allen has been doing this wonderful thing of both appreciating and being confounded by young women. And most people wouldn’t admit that. So it doesn’t matter what the ultimate line is, it’s about the relationships between men and women more than it is specifically about the woman’s story. And once you see it in that context, you can make total sense of it. As a daughter and a woman with a fiancé [in the film], I think it was totally right. The main focus in your life at that point is the competition between your fiancé and your dad. Even if you didn’t know your dad, you would still be like, Who is this guy? Is he going to be a good dad? Would I want him as my dad?

It’s like that line that you cross when you’re kicking one of your parents along with your spouse until suddenly you’re defending them...

Yeah. “You can’t make fun of my parents. Only I’m allowed to do that.” That tension is all throughout there. And that is reality. I could say that “Eurydice” by Sarah Ruhl focuses on the female storyline more. But it’s Woody Allen, it’s a comedy, and it’s hilarious, and his appreciation for young women and his interest in them is always more admirable than a lot of male directors who are confounded by young women and then just ignore them.

You generally stay to more original storytelling in independent film. Is that by design or just how the puzzle pieces have come together? Is that a strategy?

I don’t believe in strategy. I don’t think you can have strategy in this business, and that anybody who thinks that is a crazy person. But my strategy is basically to work with cool people who I respect and on scripts that I think are interesting. I got burned early on by being in studio pictures that, by the time the studio was done with them, were shells of their former selves in terms of writing. And it’s not just studios, it’s actors who have too much power. It’s why I went and did theater, because I was like, you’re not going to fuck with Shakespeare, you know? [laughs]

Although plenty have tried.

I know. People often do. People always will. But I did a John Guare play last year [“The House of Blue Leaves”], and no one in their right mind would mess with a John Guare line. How could you? Why would you? And I think that’s what’s missing from a lot of stuff today is that there’s very little dialogue crafting going on in most films by studios. Too many chefs ruin a lot of things. [laughs] So to be getting notes on what is most acceptable, what’s “real,” what a “real” heroine would act like, whether something can be lovable if it’s flawed... The reason I loved the script when I read “Goon” was because the character legitimately slept with a lot of dudes, drank a lot and was fine with it. Like a lot of my friends in their twenties! It’s not such a shocking thing, and you’re not the devil if you do it! You’re a human being.

Well, Warner Bros. can’t get Coca-Cola as a sponsor if they have a heroine that sleeps with a lot of guys and is fine with it.

Right. Exactly. And so, I just go, what’s the point of that? That’s just feeding into terrible stuff.

That’s something that you and Ellen have in common: You’ve both dipped into the studio world — she did an “X-Men” movie and “Inception” -- but most of the work since has been outside that system.

I’m an actor, but I’m also a feminist, and a lot of times in movies there are things that I cannot imagine happening that are on the screen and totally accepted. And I just go, Whaaat?

Would you share an example?

I would. What was that movie with Jason Statham with the adrenaline thing? “Crank.” Listen, I fucking love action movies. I love them. I love shoot-’em-ups, I love kicking movies, I love anything! Like, martial arts, but even if it’s not, even if there’s just kicking, I’m into it. And I’m usually fine with having bullshit ladies on the side. That’s fine. You need some tits in it? I get it. But in this case I was like… No.

At a moment to keep his adrenaline up, his character wants to have sex in a public place with his girlfriend. He pulls her down, she’s saying no-no-no, he rips her shirt off, she’s saying no-no-no, she’s yelling, people are watching, he gets down and he starts fucking her, and she’s still saying no-no-no… until she starts liking it. And I was like, Did nobody at the studio with a daughter go, “Maybe we shouldn’t have a rape scene by our hero in the middle of the movie? Maybe that wouldn’t be a good hero move...?” But nobody ever, I don’t think, brought that up. And that is disgusting to me. So, they can have it.

Meanwhile, you look at the famous case of Kimberly Peirce and “Boys Don’t Cry,” where she had to cut some of Chloe Sevigny’s enjoyment of her orgasm, which was a loving, connected, intimate moment.

Yes. Exactly. No, female orgasms are scary! You can’t show too many of those. You can show them getting raped, but…

Is anything going on with the music biopic “Girls Like Us?” Are you actually attached to play Carole King?

Oh! I auditioned for it, and I don’t know whether that was a press release to see if there was interest. I don’t think there’s an official thing to be connected to, necessarily. If anybody has money and wants me to sing Carole King songs, I’ll do it for 20 bucks and a slice of pizza.

Do you know her work?

[scandalized pause] Yes! And Joni Mitchell is a goddess. If the opportunity were to arise… I would be open to doing that!!

Do you have any good Sorkin stories? He has a reputation for giving some pretty specific line readings.

Again, I come from theater — all of our cast, for the most part, like Jeff and I, we did a play together, and Tommy Sadoski and I did a play together, and John Gallagher, too, Mr. Tony. The script to us, for the most part, is the Bible, so we’re perfectly fitted to be given line notes like, “Uh, there was a comma after ‘it’ that you sort of missed.” And it’s not a joke. He has planned it out so that you take a breath there. A comma means a breath. It is music. He has written musical dialogue and you need to get it down. He said to us before we started shooting, “Here’s the thing: You’re going to be a lot happier if you have this memorized so utterly that you know it backwards.”

There’s also the speed with which he wants you to deliver it.

That’s the real thing. You gotta be gung-ho. You have to take big, deep diaphragm breaths in order to make it to that first comma, because he speaks really quickly. And he... [laughs] I guess when he’s writing, he acts everything out himself, says all the voices and everything. And he jumped somewhere and busted his face on a mirror. It was crazy! We’re like, “Aaron, what happened to you?!” He’s like, “I was acting it out…” He was in his office, reading it… [can’t stop laughing] And so, if he’s that dedicated to his performance alone in his office, you have to be 100 times more dedicated on set.

L.A. Film Fest Review: The Skillfully Shot ‘Thursday Till Sunday’ Is Slow To Make Its Arrival

Emma Bernstein — Wed, 20 Jun 2012 23:01:00 GMT

Whether you are separating from your spouse or a child of parents who decide to split, divorce is a complex, sorrowful, bewildering event. It may leave questions unanswered, hearts broken, and individuals unfulfilled and without closure. Relationships are so layered that when it comes time to dissolve them, the process is anything but easy. And yet, it is at these most difficult times when the simplest words serve best. In her film, “Thursday till Sunday,” Chilean writer and director Dominga Sotomayor uses unfussy dialogue and a straightforward shooting style to translate the confusion and pain inherent in a couple’s withering marriage through the eyes of their quiet, precocious daughter.

In a last-ditch effort to save their flailing marriage, Ana and Papá (Paola Giannini and Francisco Pérez-Bannen, who isn't given a proper name) decide to take a road trip with their children, Lucía (Santi Ahumada) and Manuel (Emiliano Freifeld). Papá wishes to show the kids his father’s land in northern Chile, so they leave their home in Santiago at daybreak one Thursday. As they travel north, however, the claustrophobia of the family station wagon sets in, and tensions begin to worsen between the couple. From the back seat, Lucía observes her parents’ frequent arguments, which are, at best, poorly disguised with Spanglish. With each mile they drive, her perception improves, until she finally bursts out, “Come on! I know what you’re talking about.” Yet with her understanding comes a certain loss of innocence, and by Sunday, when the trip comes to a close, Lucía has reached a turning point in her maturity, a moment of decision that mirrors the state of her parents.

The film’s strongest element is, far and away, its cinematography, which augments the story’s subjectivity by forcing the audience into a child’s point of view. Lucía and Manuel are identified to the audience in the first few minutes, but both Papá and Ana have late introductions, their faces remaining in shadow or in profile until a brief shot through the car’s windshield captures the entire family straight-on. The camera rarely strays from Lucía’s eye level, often cutting off the heads, necks, and shoulders of adults standing around her. In the shots she’s in (which is nearly all of them), she almost always appears in extreme close-up or walks in front of the camera, leading it down her path. When absent from the frame, she’s literally replaced by the camera, which looks out the car windows at the passing countryside, or around the front seat headrests to stare at the backs of her parents’ heads.

One of the most successfully shot sequences is the film’s opening, which is done as a steady one-shot. The noises come in first over an almost black screen – a clock ticking and a hose running – before a light is turned on to reveal a bedroom with a window looking out to a garden, and Papá lifting Manuel from his bed. The camera stays put as the parent and child exit, then reenter the frame outside the window, where Ana waits next to a car half packed with coolers, chairs, and sleeping bags. The parents finish loading the car and drive away. In the entire scene, there is only one spoken line of dialogue: “Are you sure you want me to come?” Ana asks, but receives no reply. The goings-on here are clear enough, but since we don’t yet have faces or names to put to the voice, her words are eerily disembodied, particularly in the dim, early morning light. And still, the camera watches from the bedroom, removed and uninformed, establishing the decentralized perspective this film will take.

However, when enthusiasm for the camerawork dies down, we are left with a story that ambles along at a turtle’s pace. While the occasionally painfully slow pacing effectively conveys the interminable, frustrating, deathly boredom that road trips sometimes are, the conceit is well worn by the film’s two-thirds mark. The episodic structure has the potential to work very well, as road trips often become defined by the big blocks of time spent at one activity or another (usually driving or sleeping), and has its periods of success. But there are just a few too many sequences that don’t seem to move the story along at all, serving more to highlight Sotomayor’s exceptional visual skills. Great filmmaking is a wonderful thing, and this director’s talents are many, but I do wish there were one or two fewer handheld tracking shots of Lucía making her way through the Chilean wilderness. Or that they were clipped to 30 seconds, at least.

This is not to say that there aren’t some truly wonderful moments in the story. Not too far from Santiago, Papá picks up two hitchhikers, teenage girls whom the younger Lucía is clearly enamored with. As the three girls bond in the back seat we can see how Lucía is outgrowing her childhood, as well as what she will soon become. The moment is neither overwrought nor hammered down too hard, and becomes all the more poignant for it.

Although “Thursday Till Sunday” deals with a large and complicated subject, it’s a very quiet and simple film. The dialogue and score are both relatively sparse, and natural lighting provides the only illumination on screen. This bare bones approach allows the film to get into the meat of its story, but it doesn’t take advantage of this until too late in the game. Without a doubt, there are many positive elements: the footage of Chile is beautiful, the characters well fleshed out and relatable, the conclusion powerful. However, watching this film is, at times, as monotonous as driving down the Interstate. [B]

L.A. Film Fest Review: 'Sister' Is A Beautifully Bleak Coming Of Age Story

Emma Bernstein — Wed, 20 Jun 2012 22:05:00 GMT

A young child is dressing in a bathroom stall. We can’t tell what he looks like, as he layers on shapeless winter clothing, and a neoprene mask hides all discernible features save for a pair of bright, knowing eyes. He goes through the pre-ski ritual, bundling up before braving the windy, snowy landscape of the mountain ahead. Except that this child isn’t dressing for a day of skiing, but rather a day of stealing. It isn’t until he lifts a backpack and a jacket, returning to the stall to sort through his loot, that his babyish face and soft, dirty blonde hair are revealed. This is the opening scene of “Sister,” the sophomore feature from Swiss director and co-writer Ursula Meier. The film, which won a Special Mention Silver Bear award at this year's Berlin Film Festival, examines the coming of age process, and the challenges that face us as we arrive at adulthood.

The thief is 12-year-old Simon (Kacey Mottet Klein), who lives in an apartment building at the base of a Swiss ski resort with his older sister, Louise (Léa Seydoux). Each morning, Simon dons his ski outfit and rides the public gondola to the resort’s base lodge where he nabs whatever gear he can from unsuspecting tourists and re-sells it at discounted prices to local skiers and the mountain’s seasonal staff. Despite Louise’s considerable age, she seems utterly incapable of caring for herself or her brother: she can’t maintain a job and is unable (or unwilling) to learn how to help Simon repackage the stolen ski gear. Instead of working, she disappears with a string of men for days at a time, returning to her brother when the boyfriend-of-the-week gets tired of her or she runs out of money. Looking at their reflections in a mirror, Simon asks his sister, “The day I’m bigger than you, what will you do?” Louise can only smile and ruffle his hair affectionately, anything to remind herself that he is, in fact, still smaller and that the time has not yet come to figure out what she must do.

His parents nowhere in sight, Louise unreliable and irresponsible, Simon’s illicit endeavors are a necessity, rather than a series of childish pranks: with the money he makes, the siblings can continue to get by. He’s caught in the act soon enough, but the man who nabs him wants in on the bargain, gaining Simon a partner – and, eventually a friend and older-brother-type – in the cheeky Scottish cook, Mike (Martin Compston). Later on, when Simon meets Kristin (played with quite the convincing British accent by Gillian Anderson), a Louise look-alike skiing with her two young children, he cottons on to her immediately as well. And so he builds a new kind of family, a family culled from the mountain.

Meier, along with co-writer Antoine Jaccoud, has created a mesmerizing and believable world for the complex and intriguing lead characters to inhabit. What begins as a lighthearted slice-of-life film transforms into a much darker, much deeper character exploration after a sudden twist in the storyline. And despite their youth, both Klein and Seydoux are absolutely wonderful actors. They bring light and energy to the screen in the brightest moments, but manage the darkness and heartbreak in the film’s latter half equally well. Klein, in particular, takes his role on with enthusiasm and aplomb. Playing a character that is both a child and a caretaker, Klein makes us believe that he’s in way over his head while also convincing us that he can take care of everything. The push-pull between Simon’s current child self and the adult he’s becoming is heartbreaking, and Klein sells it on a silver platter.

“Sister” is as bleak and as beautiful as its snowy, mountainous setting. Amplified sound effects are favored over a score, mirroring the serenity of snow-covered mountaintop. When music is employed, the sound is haunting: bells and strings echo through vales and across plains, emphasizing their emptiness. Steady shots of the Swiss Alps, rising gigantically from a flat, frozen brown tundra, illustrate the world’s wildness and scale. The figure of Simon, pulling his grocery-laden sled across the cold plain, is dwarfed in comparison, his significance reconsidered in sight of the mountains’ powerful, unmoving faces. He may be king of the mountain as long as he can keep the goods coming, but there’s a whole world out there that Simon doesn’t know and that, more importantly, doesn’t know Simon. He isn’t a mountain, after all: he can’t remain stagnant forever.

“Sister” is thought-provoking and heartrending, a story of hope and hopelessness in equal measure, a commentary on growing up and learning your place in the world. Simon has had to age too quickly, and his understanding of the huge, wild existence beyond the mountain he calls home remains too limited. Kristin and Mike can perhaps serve as entrées to something more, but Simon’s attraction to a life of thievery, and to his life with Louise, will be tested by this potential: the life he knows may be too much to give up for the one he doesn’t. [A]

"It's a Disaster,' 'Dead Man's Burden,' 'The Iran Job' & More Get Added Screenings at LAFF

Jay A. Fernandez — Wed, 20 Jun 2012 19:42:51 GMT

The Los Angeles Film Festival has just added screenings of a few titles from its program that have been drawing enthusiastic crowds. The additional showtimes have been slotted for Friday, Saturday and Sunday (check the LAFF website for specifics).

The narrative films “Dead Man’s Burden,” “It’s a Disaster” and “Juan of the Dead” have been given extra screentime along with documentaries “Birth Story: Ina May Gaskin and The Farm Midwives,” “A Band Called Death,” and “The Iran Job,” and rare performance film “Ballads, Blues, and Bluegrass.”

Here's Eric Kohn's review of "Burden," which he gave a B+.

So if you missed any of these and want to take a look, now you have another chance.