Texas Congressman Joaquin Castro has nominated 27 Latino-driven films for inclusion in the National Film Registry. Among the suggestions are films that brought Oscar nominations to Latino actors and artists, including Salma Hayek, as Mexican artist Frida Kahlo in “Frida” (2002); Catalina Sandino Moreno, who portrayed a desperate undocumented pregnant immigrant in “Maria Full of Grace” (2004) and Demián Bichir, who played an undocumented worker in Los Angeles in “A Better Life” (2011). All were nominated for lead acting Oscars.
Other notable titles nominated by the congressman are Peter Sollett’s coming-of-age indie “Raising Victor Vargas,” Alfonso Arau’s romantic drama “Like Water for Chocolate (1992) and Darnell Martin’s “I Like It Like That” (1994), a story of a Puerto Rican family in the Bronx.
“Given the film industry’s continued exclusion of Latinos, we must make a special effort to ensure that Latino Americans’ contributions to American filmmaking are appropriately celebrated and included in the National Film Registry,...
Other notable titles nominated by the congressman are Peter Sollett’s coming-of-age indie “Raising Victor Vargas,” Alfonso Arau’s romantic drama “Like Water for Chocolate (1992) and Darnell Martin’s “I Like It Like That” (1994), a story of a Puerto Rican family in the Bronx.
“Given the film industry’s continued exclusion of Latinos, we must make a special effort to ensure that Latino Americans’ contributions to American filmmaking are appropriately celebrated and included in the National Film Registry,...
- 8/21/2023
- by Clayton Davis
- Variety Film + TV
Congressman Joaquin Castro and members of the Congressional Hispanic Caucus have launched a nationwide call for Latino films to nominate for the National Film Registry.
The U.S.’s preeminent archive of films with cultural, historic or aesthetic significance is essential in preserving cinema. Every year, the Librarian of Congress adds 25 new movies to the registry after reviewing titles nominated by the public and conferring with National Film Preservation Board members and Library film curators. As of 2023, there are 24 Latino films on the National Film Registry, less than three percent of the 850 movies in the registry.
“Since the earliest days of cinema, Latino actors, writers, directors, and creatives have made extraordinary contributions to American filmmaking,” said Congressman Castro. “As the Library of Congress works to preserve the films that shaped American culture, public nominations will put a spotlight on the Latino-driven films that have sold out theaters and defined generations.
The U.S.’s preeminent archive of films with cultural, historic or aesthetic significance is essential in preserving cinema. Every year, the Librarian of Congress adds 25 new movies to the registry after reviewing titles nominated by the public and conferring with National Film Preservation Board members and Library film curators. As of 2023, there are 24 Latino films on the National Film Registry, less than three percent of the 850 movies in the registry.
“Since the earliest days of cinema, Latino actors, writers, directors, and creatives have made extraordinary contributions to American filmmaking,” said Congressman Castro. “As the Library of Congress works to preserve the films that shaped American culture, public nominations will put a spotlight on the Latino-driven films that have sold out theaters and defined generations.
- 7/18/2023
- by Clayton Davis
- Variety Film + TV
While it’s a quieter than usual month overall for new movies on Netflix, the past seven days did bring us a handful of interesting films to help keep folks entertained. Ranging from classic social commentary, to under the radar comedy-dramas, to a criminally underrated action flick, there’s more than likely to be a pic that arrived this week to suit your tastes.
So, without further ado, let’s break down the best new movies that hit the platform over the last several days.
One Flew Over The Cuckoo’s Nest (1975)
Headlining this week’s recommendations is Milos Forman’s award-winning drama. Ostensibly a social commentary that takes its aim at the American psychiatric system, One Flew Over The Cuckoo’s Nest centres on criminal Randle Patrick McMurphy (played brilliantly by the iconic Jack Nicholson), who pleads insanity to avoid hard labor, only to end up rallying up the patients within...
So, without further ado, let’s break down the best new movies that hit the platform over the last several days.
One Flew Over The Cuckoo’s Nest (1975)
Headlining this week’s recommendations is Milos Forman’s award-winning drama. Ostensibly a social commentary that takes its aim at the American psychiatric system, One Flew Over The Cuckoo’s Nest centres on criminal Randle Patrick McMurphy (played brilliantly by the iconic Jack Nicholson), who pleads insanity to avoid hard labor, only to end up rallying up the patients within...
- 9/19/2020
- by Dylan Chaundy
- We Got This Covered
“In the moment I thought, ‘Holy crap! I could win,’ and the panic did set in a little,” declares an excited Todd Tilghman as he recalls the seconds leading up to host Carson Daly announcing him as the winner of Season 18 of “The Voice.” “Going into it I never really dreamed I would win,” he admits. Todd joins Gold Derby senior editor Marcus James Dixon and contributor Denton Davidson to discuss his thrilling victory and his roller coaster of a season that was nearly upended by the Covid-19 pandemic. Watch our exclusive interview in the video above.
Todd became Blake Shelton‘s first champion since Season 13 and his seventh overall. Toneisha Harris from Team Blake finished in second while Thunderstorm Artis from Team Nick Jonas, CammWess from Team John Legend and Micah Iverson from Team Kelly Clarkson rounded out the Top 5.
See‘The Voice’ reveals who came in second place: Toneisha Harris or Thunderstorm Artis?...
Todd became Blake Shelton‘s first champion since Season 13 and his seventh overall. Toneisha Harris from Team Blake finished in second while Thunderstorm Artis from Team Nick Jonas, CammWess from Team John Legend and Micah Iverson from Team Kelly Clarkson rounded out the Top 5.
See‘The Voice’ reveals who came in second place: Toneisha Harris or Thunderstorm Artis?...
- 5/21/2020
- by Denton Davidson and Marcus James Dixon
- Gold Derby
On “The Voice” season 18 finale on Tuesday, Todd Tilghman pulled off a win over Thunderstorm Artis, who had been the frontrunner all season long. In our overnight poll, 31% of those weighing in wanted Thunderstorm to win and think that he was robbed of the season 18 title. Todd did not merit a majority of votes from “The Voice” fans and has only 39% of the total tally as of this writing.
Toneisha Harris, who made “The Voice” history as the first Instant Save artist in the final not to be eliminated at the outset, is at 21%. The other two contenders in the Top 5 registered in the single digits: CammWess (5%) and Micah Iverson (4%).
What do you think? Did Todd Tilghman deserve to win “The Voice”? Or do you think Thunderstorm Artis was robbed of the season 18 championship? Even though he lost on May 19, this singer from Hawaii could end up the big winner.
Toneisha Harris, who made “The Voice” history as the first Instant Save artist in the final not to be eliminated at the outset, is at 21%. The other two contenders in the Top 5 registered in the single digits: CammWess (5%) and Micah Iverson (4%).
What do you think? Did Todd Tilghman deserve to win “The Voice”? Or do you think Thunderstorm Artis was robbed of the season 18 championship? Even though he lost on May 19, this singer from Hawaii could end up the big winner.
- 5/20/2020
- by Paul Sheehan
- Gold Derby
Blake Shelton‘s losing streak came to an end on Tuesday night when he won his seventh “The Voice” championship thanks to Todd Tilghman. (Read our minute-by-minute recap to see how it all went down.) Todd, a 42-year-old pastor from Meridian, Mississippi, was a front-runner to win Season 18, particularly after leading Apple Music sales following Monday’s performance show. Todd’s success means that his coach Blake has won his first title in four seasons. See the updated list of “The Voice” winners in our photo gallery below.
See‘The Voice’ 2020 judges: Was this the best coaching panel in all 18 seasons? [Poll]
Even though the country superstar coach has been with “The Voice” since day one, he’s found it harder and harder to win the competition as the years have gone by. In fact, his losing streak was frequently the butt of jokes from his fellow coaches and host Carson Daly.
See‘The Voice’ 2020 judges: Was this the best coaching panel in all 18 seasons? [Poll]
Even though the country superstar coach has been with “The Voice” since day one, he’s found it harder and harder to win the competition as the years have gone by. In fact, his losing streak was frequently the butt of jokes from his fellow coaches and host Carson Daly.
- 5/20/2020
- by Marcus James Dixon
- Gold Derby
Todd Tilghman won season 18 of “The Voice” on Tuesday over Thunderstorm Artis in one of the closest votes in the history of the show. Did Todd deserve to win “The Voice”? Was Thunderstorm robbed? And what about the other three artists in the Top 5: CammWess, Toneisha Harris and Micah Iverson? Make your voice heard by voting in our poll at the bottom of this post.
Todd came into the results show as the frontrunner, having sold the most streams overnight on Apple Music of his performances from Monday’s finale. Of his five rivals, Thunderstorm was the only one to have also landed both tracks in the iTunes Top 200.
Before you vote in our poll for the artist who most deserved to win season 18 of “The Voice” take a minute to review all the songs sung by these talents over the course of the season. After you vote, be...
Todd came into the results show as the frontrunner, having sold the most streams overnight on Apple Music of his performances from Monday’s finale. Of his five rivals, Thunderstorm was the only one to have also landed both tracks in the iTunes Top 200.
Before you vote in our poll for the artist who most deserved to win season 18 of “The Voice” take a minute to review all the songs sung by these talents over the course of the season. After you vote, be...
- 5/20/2020
- by Paul Sheehan
- Gold Derby
Even a massive pandemic couldn’t hold back the end of Season 18 for “The Voice” on NBC. Tuesday night brings us all the finale, even with all of the coaches and contenders making their final appearances from their homes. The order of the Top 5 (or Final 5 if you want) will be revealed based on the audience vote from bottom to top with a champion finally named at the end of the episode.
Which coach is out front to win Season 18 of “The Voice”? Kelly Clarkson has prevailed three of the past four seasons. John Legend has one championship. Blake Shelton is the all-time leader with six. It’s a rookie season for youngster Nick Jonas.
Here were the songs chosen for performance Monday night and our instant analysis:
Team Kelly — Micah Iverson
Team Nick — Thunderstorm Artis
Team Legend — CammWesss
Team Blake — Toneisha Harris
Todd Blake — Todd Tilghman
Follow along with...
Which coach is out front to win Season 18 of “The Voice”? Kelly Clarkson has prevailed three of the past four seasons. John Legend has one championship. Blake Shelton is the all-time leader with six. It’s a rookie season for youngster Nick Jonas.
Here were the songs chosen for performance Monday night and our instant analysis:
Team Kelly — Micah Iverson
Team Nick — Thunderstorm Artis
Team Legend — CammWesss
Team Blake — Toneisha Harris
Todd Blake — Todd Tilghman
Follow along with...
- 5/19/2020
- by Denton Davidson and Chris Beachum
- Gold Derby
On “The Voice” finale on Monday, the Top 5 artists performed two solos apiece as well as a duet with their coach. The goal for each contestant was to get the most votes by Tuesday at 7 a.m Et/4 a.m. Pt. Because of the changes to production due to the Covid-19 pandemic, producers dropped the five-times vote multiplier generated by the Apple Music bonus. But those sales remain an excellent way of predicting the winner of “The Voice” season 18.
We can report the following results: Todd Tilghman from Team Blake Shelton hit #1 with his winner’s single, “Long Way Home.” And his duet with Blake on “Authority Song” is at #42. (The cover versions were not released on Apple Music), Tilghman was the only one of the five artists still in contention to get both of his tracks on the iTunes Top 100 chart. Such sales success reinforces his frontrunner status to win season 18 of “The Voice.
We can report the following results: Todd Tilghman from Team Blake Shelton hit #1 with his winner’s single, “Long Way Home.” And his duet with Blake on “Authority Song” is at #42. (The cover versions were not released on Apple Music), Tilghman was the only one of the five artists still in contention to get both of his tracks on the iTunes Top 100 chart. Such sales success reinforces his frontrunner status to win season 18 of “The Voice.
- 5/19/2020
- by Paul Sheehan
- Gold Derby
The Voice on Monday began the ending of a season of firsts: its first with a Final Five instead of a Final Four; its first with pandemic-necessitated remote performances; its first with a swivel chair for Nick Jonas (and his oh-so-helpful Nick’s Notes); its first, at least that I can remember, with Kelly Clarkson Wine Goblets; its first with the coaches making one boneheaded move (John Legend dropping Thunderstorm Artis from his team) after another (Cedrice and not Tayler Green being stolen during the Knockouts)…
Hey, wait. We always get at least a few face-palm-inducing decisions from the coaches,...
Hey, wait. We always get at least a few face-palm-inducing decisions from the coaches,...
- 5/19/2020
- TVLine.com
The Top 5 artists on “The Voice” sang three songs apiece on the two-hour finale on Monday, May 18. They performed a solo, a duet with their coach and an original tune. The goal for each of these would-be winners of season 18 is to earn the most votes in the overnight voting. Who do you predict will win “The Voice” on May 21?
Veteran coach Blake Shelton is still looking for that elusive seventh win as a coach and he has a pair of well-regarded artists (Toneisha Harris and Todd Tilghman) in the final. Kelly Clarkson has won three of her first four seasons as a coach on “The Voice” and has a strong contender in Micah Iverson. John Legend is the only other coach to win since Kelly came on board; he is hoping that CammWess will get him that bookend. Nick Jonas is hoping for the same beginner’s luck that...
Veteran coach Blake Shelton is still looking for that elusive seventh win as a coach and he has a pair of well-regarded artists (Toneisha Harris and Todd Tilghman) in the final. Kelly Clarkson has won three of her first four seasons as a coach on “The Voice” and has a strong contender in Micah Iverson. John Legend is the only other coach to win since Kelly came on board; he is hoping that CammWess will get him that bookend. Nick Jonas is hoping for the same beginner’s luck that...
- 5/19/2020
- by Paul Sheehan
- Gold Derby
“The Voice” finale will showcase the Top 5 singing live for America’s votes on Monday, May 18. Each of the five finalists — Thunderstorm Artis, CammWess, Toneisha Harris, Micah Iverson and Todd Tilghman — will get three chances to sing on the two-hour show. They will do covers and original tunes as well as duet with their coaches.
In this final round of the season 18 competition, the coaches are not evenly matched. Blake Shelton, who has won six of the first 17 seasons of “The Voice,” still has two artists in contention, including the last woman standing. The other three coaches — reigning champ Kelly Clarkson (she’s won three of her four seasons to date), one-time winner John Legend and rookie Nick Jonas — have one apiece.
We’ve discovered spoilers on Apple Music of the songs that the Top 5 will perform live on the season 18 finale. Take a look below at the titles of...
In this final round of the season 18 competition, the coaches are not evenly matched. Blake Shelton, who has won six of the first 17 seasons of “The Voice,” still has two artists in contention, including the last woman standing. The other three coaches — reigning champ Kelly Clarkson (she’s won three of her four seasons to date), one-time winner John Legend and rookie Nick Jonas — have one apiece.
We’ve discovered spoilers on Apple Music of the songs that the Top 5 will perform live on the season 18 finale. Take a look below at the titles of...
- 5/18/2020
- by Paul Sheehan
- Gold Derby
March can be a long month, and that’s especially true for cinephiles. Wedged between the Oscars and the start of the summer movie season (which now begins sometime in April), the tail-end of winter can feel like the deepest of doldrums on the annual movie calendar. Fortunately, Netflix is doing what it can to sustain its subscribers from now until spring.
This month’s new additions to the company’s streaming library offer a little something for everyone, from the soaring acrobatics of “Crouching Tiger, Hidden Dragon,” to the chilled mysteries of Debra Granik’s “Winter’s Bone,” and the heartbreaking drama of Asghar Farhadi’s “A Separation.” March’s Netflix Originals include Chiwetel Ejiofor’s directorial debut, Lukas Dhont’s controversial “Girl,” and the star-studded beefcake spectacle of “Triple Frontier.” “Music and Lyrics” and “Nick and Norah’s Infinite Playlist” join the internet’s deepest stable of 21st century rom-coms,...
This month’s new additions to the company’s streaming library offer a little something for everyone, from the soaring acrobatics of “Crouching Tiger, Hidden Dragon,” to the chilled mysteries of Debra Granik’s “Winter’s Bone,” and the heartbreaking drama of Asghar Farhadi’s “A Separation.” March’s Netflix Originals include Chiwetel Ejiofor’s directorial debut, Lukas Dhont’s controversial “Girl,” and the star-studded beefcake spectacle of “Triple Frontier.” “Music and Lyrics” and “Nick and Norah’s Infinite Playlist” join the internet’s deepest stable of 21st century rom-coms,...
- 3/4/2019
- by David Ehrlich
- Indiewire
Warner Bros. has been trying to get a feature film adaptation of Minecraft off the ground for some time now. Both Shawn Levy (Stranger Things) and Rob McElhenney (It’s Always Sunny in Philadelphia) were attached to direct it at different points. But things didn’t work out with them.
According to Variety, the studio is moving forward with the project with a new director, and that director is Peter Sollett. This will be his biggest film to date. His best known films are Nick and Norah’s Infinite Playlist and Raising Victor Vargas. He’s an interesting choice, but he just might deliver a solid movie.
As far as the film’s story goes, it will follow “a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.”
The studio hopes that...
According to Variety, the studio is moving forward with the project with a new director, and that director is Peter Sollett. This will be his biggest film to date. His best known films are Nick and Norah’s Infinite Playlist and Raising Victor Vargas. He’s an interesting choice, but he just might deliver a solid movie.
As far as the film’s story goes, it will follow “a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.”
The studio hopes that...
- 1/14/2019
- by Joey Paur
- GeekTyrant
Peter Sollett, the director of 2008’s “Nick and Norah’s Infinite Playlist,” has been tapped to write and direct Warner Bros.’ long-awaited film adaptation of “Minecraft.”
Based on the wildly popular global video game, the story follows a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.
The film will be produced by Vertigo’s Roy Lee and Jon Berg. Jill Messick, who died last February, is also still credited as a producer. Video game developer Mojang is also on board as a producer. And Jon Spaihts will serve as executive producer.
Also Read: 'Minecraft' Movie Delayed: Rob McElhenney Out as Director, Nee Brothers Tapped to Write (Exclusive)
Warner Bros. landed the coveted film rights to the game back in 2014 and the studio has worked hard to launch the potential franchise ever since.
Based on the wildly popular global video game, the story follows a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.
The film will be produced by Vertigo’s Roy Lee and Jon Berg. Jill Messick, who died last February, is also still credited as a producer. Video game developer Mojang is also on board as a producer. And Jon Spaihts will serve as executive producer.
Also Read: 'Minecraft' Movie Delayed: Rob McElhenney Out as Director, Nee Brothers Tapped to Write (Exclusive)
Warner Bros. landed the coveted film rights to the game back in 2014 and the studio has worked hard to launch the potential franchise ever since.
- 1/11/2019
- by Trey Williams
- The Wrap
Peter Sollett has been brought on to write and direct Warner Bros.’ long-anticipated film adaptation of the popular video game “Minecraft.”
The pic will be produced by Vertigo’s Roy Lee and Jon Berg. Jill Messick, who died last February, is also still credited as a producer. The video game developer that released the game, Mojang, is also on board as a producer. Jon Spaihts will executive produce.
Based on the globally popular video game, the story follows a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.
The studio has worked hard over the years to launch this franchise ever since it landed the highly coveted rights in 2014. Various talent has circled the project, including Shawn Levy and Rob McElhenney, who were both previously on board to direct, as well as Steve Carell,...
The pic will be produced by Vertigo’s Roy Lee and Jon Berg. Jill Messick, who died last February, is also still credited as a producer. The video game developer that released the game, Mojang, is also on board as a producer. Jon Spaihts will executive produce.
Based on the globally popular video game, the story follows a teenage girl and her unlikely group of adventurers who, after the malevolent Ender Dragon sets out on a path of destruction, must save their beautiful, blocky Overworld.
The studio has worked hard over the years to launch this franchise ever since it landed the highly coveted rights in 2014. Various talent has circled the project, including Shawn Levy and Rob McElhenney, who were both previously on board to direct, as well as Steve Carell,...
- 1/11/2019
- by Justin Kroll
- Variety Film + TV
In “All About Nina,” a scabrous drama about comedy and other serious matters, first-time feature director Eva Vives (who co-wrote “Raising Victor Vargas”) has a lot to say and finds some provocative ways to express it all.
A major late-act revelation, in particular, is likely to be a significant talking point after screenings.
But the movie’s deepest emotional impact comes from an electrifying star turn by Mary Elizabeth Winstead. The reliably excellent Winstead takes charge from the moment she swaggers on screen as Nina, a 33-year-old stand-up whose brutal cynicism hides a lifetime’s worth of secrets.
Also Read: 'The Old Man & the Gun' Film Review: Robert Redford Goes Out Smiling
For one thing, she’s not quite as together as she appears on stage. She vomits after every show from nerves, drinks way too much far too often, and is involved in an abusive relationship with a married cop.
A major late-act revelation, in particular, is likely to be a significant talking point after screenings.
But the movie’s deepest emotional impact comes from an electrifying star turn by Mary Elizabeth Winstead. The reliably excellent Winstead takes charge from the moment she swaggers on screen as Nina, a 33-year-old stand-up whose brutal cynicism hides a lifetime’s worth of secrets.
Also Read: 'The Old Man & the Gun' Film Review: Robert Redford Goes Out Smiling
For one thing, she’s not quite as together as she appears on stage. She vomits after every show from nerves, drinks way too much far too often, and is involved in an abusive relationship with a married cop.
- 9/26/2018
- by Elizabeth Weitzman
- The Wrap
When The CW's reboot of the cult favorite TV series Charmed was announced, the first question on everyone's minds was who would be playing the "Charmed Ones," the trio of supernaturally chosen sister witches. Instead of casting big-name actresses, the network chose instead to select three actresses who have worked steadily but haven't had breakout roles just yet. The middle sister, Mel Vera, is played by Melonie Diaz, a longtime staple of the indie film world.
Diaz began her career in the New York theater scene, appearing in off-Broadway plays and fringe festivals. This work led to her entry into the film world, with supporting roles in small and independent films. Her early-career credits include the direct-to-video dramedy Double Whammy and 2002's Raising Victor Vargas, which debuted at the Cannes Film Festival.
Although she briefly appeared on TV (in an episode of Law & Order and in a...
Diaz began her career in the New York theater scene, appearing in off-Broadway plays and fringe festivals. This work led to her entry into the film world, with supporting roles in small and independent films. Her early-career credits include the direct-to-video dramedy Double Whammy and 2002's Raising Victor Vargas, which debuted at the Cannes Film Festival.
Although she briefly appeared on TV (in an episode of Law & Order and in a...
- 9/22/2018
- by Amanda Prahl
- Popsugar.com
The romantic comedy is back, or at least in the very early throes of coming back, thanks to films like “Book Club,” the upcoming Keanu Reeves and Winona Ryder reunion “Destination Wedding,” and a slew of Netflix originals churning out at a rapid pace. In fact, it may be that Netflix is the one saving the genre, or at least reminding viewers just how much fun it can be to watch two nice people fall in love against a backdrop of misadventures and high jinks. This week sees the release of the streamer’s latest original, “Set It Up,” which joins a healthy selection of rom-coms currently available for instant streaming.
From classics like “The African Queen” to festival breakouts like “The Incredible Jessica James” and unexpected gems like “I Give It a Year,” Netflix is filled with prime examples of all the loving, funny offerings the genre still has to offer.
From classics like “The African Queen” to festival breakouts like “The Incredible Jessica James” and unexpected gems like “I Give It a Year,” Netflix is filled with prime examples of all the loving, funny offerings the genre still has to offer.
- 6/15/2018
- by Kate Erbland
- Indiewire
A solid variety of strong content is coming to Netflix this June, including a recent Best Picture winner and one of the best sports movies ever made, but the whole lot of these new additions is easily overwhelmed by the single biggest title to hit streaming this year: “Star Wars: The Last Jedi.” A brilliant and daring space epic that redefined the most famous movie franchise of them all, Rian Johnson’s game-changer is more than enough to justify that Netflix fee for another month.
Here are the seven best movies that are new to Netflix this June (click here for the full list of what the streaming giant is adding this month).
7. “Mohawk” (2017)
Horror maestro Ted Geoghegan makes good on the haunted promise of his debut feature, 2015’s “We Are Still Here,” by delivering another gnarly chunk of low-budget, high-value horror — this one even sharper and more violet than his last.
Here are the seven best movies that are new to Netflix this June (click here for the full list of what the streaming giant is adding this month).
7. “Mohawk” (2017)
Horror maestro Ted Geoghegan makes good on the haunted promise of his debut feature, 2015’s “We Are Still Here,” by delivering another gnarly chunk of low-budget, high-value horror — this one even sharper and more violet than his last.
- 6/1/2018
- by David Ehrlich
- Indiewire
The story writer from one of the seminal American indie films of the naughts (Raising Victor Vargas) has, as confirmed last week, completed photography on her directorial debut.
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- 10/23/2017
- by Eric Lavallée
- IONCINEMA.com
All About Nina: Mary Elizabeth Winstead (10 Cloverfield Lane, above) and Common will star in All About Nina. The dark comedy follows a stand-up comedian (Winstead) with a deeply troubled past; now on the verge of stardom, she meets a man (Common) who challenges all her preconceptions. Based on her own original screenplay, Eva Vives (Raising Victor Vargas) will make her directorial debut. The supporting cast includes Beau Bridges, Kate Del Castillo and Chace Crawford. [Deadline] Lone Wolf and Cub: Andrew Kevin Walker, best known for writing David Fincher's Seven (above), has been tapped to write the screenplay for Lone Wolf and Cub. It's based on a long-running Japanese manga series about a warrior who seeks revenge for the murder of his wife and members of his...
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- 10/18/2017
- by Peter Martin
- Movies.com
All About Nina: Mary Elizabeth Winstead (10 Cloverfield Lane, above) and Common will star in All About Nina. The dark comedy follows a stand-up comedian (Winstead) with a deeply troubled past; now on the verge of stardom, she meets a man (Common) who challenges all her preconceptions. Based on her own original screenplay, Eva Vives (Raising Victor Vargas) will make her directorial debut. The supporting cast includes Beau Bridges, Kate Del Castillo and Chace Crawford. [Deadline] ...
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- 10/18/2017
- by affiliates@fandango.com
- Fandango
Exclusive: Mary Elizabeth Winstead and Oscar-winner Common are set to star in the semi-autobiographical dark comedy, All About Nina, the directorial debut film from screenwriter Eva Vives (Raising Victor Vargas). The story follows Nina Geld (Winstead), a bracingly funny and blisteringly provocative stand-up comedian whose career is taking off, but whose personal life is a near-complete disaster. To escape a difficult ex and to prepare for a prospectively life-changing…...
- 10/17/2017
- Deadline
Netflix has released the full-length trailer for its upcoming original documentary “Casting JonBenet.” The film, which screened at this year’s Sundance Film Festival, hails from Australian director Kitty Green (“The Face of Ukraine: Casting Oksana Baiul”).
Read More: ‘Casting JonBenet’ Review: When a Murder Fuels a Fascinating Documentary Experiment — Sundance 2017
The documentary revisits the unsolved murder of six-year-old beauty pageant queen JonBenet Ramsey, who was found dead in her Boulder, Colorado, home on December 26, 1996. The inventive hybrid documentary includes footage of some Boulder local actors (both professionals and non-pro), auditioning to play the roles of JonBenet, her mother Patsy, her father John and her brother Burke, as well as cinematic re-enactments of events that took place before and after the murder.
In their auditions, the Boulder locals are asked to offer their own take on the case, which leads to some canny commentary on how people consume news — especially...
Read More: ‘Casting JonBenet’ Review: When a Murder Fuels a Fascinating Documentary Experiment — Sundance 2017
The documentary revisits the unsolved murder of six-year-old beauty pageant queen JonBenet Ramsey, who was found dead in her Boulder, Colorado, home on December 26, 1996. The inventive hybrid documentary includes footage of some Boulder local actors (both professionals and non-pro), auditioning to play the roles of JonBenet, her mother Patsy, her father John and her brother Burke, as well as cinematic re-enactments of events that took place before and after the murder.
In their auditions, the Boulder locals are asked to offer their own take on the case, which leads to some canny commentary on how people consume news — especially...
- 3/24/2017
- by Yoselin Acevedo
- Indiewire
Plus: News roundup, our best articles, and five perfect shots.
Though it wasn’t a deafening defeat, Paul Feig’s Ghostbusters wasn’t a resounding success, either. All sexist nonsense aside, the film performed only average at the box office, casting doubt upon the future of the new franchise it was supposed to kick off. And while it seems unlikely we’ll be seeing the women of last summer’s movie suit up again anytime soon, we do know that the show will go on, in a sense.
In an interview with io9, the original film’s director and new franchise producer Ivan Reitman admitted that while the future is still a little up in the air, he’s got a plan to get it going forward.
We jumped into an animated film [after the last movie] and we are developing [a] live-action film. I want to bring all these stories together as a universe that makes sense within itself. Part...
Though it wasn’t a deafening defeat, Paul Feig’s Ghostbusters wasn’t a resounding success, either. All sexist nonsense aside, the film performed only average at the box office, casting doubt upon the future of the new franchise it was supposed to kick off. And while it seems unlikely we’ll be seeing the women of last summer’s movie suit up again anytime soon, we do know that the show will go on, in a sense.
In an interview with io9, the original film’s director and new franchise producer Ivan Reitman admitted that while the future is still a little up in the air, he’s got a plan to get it going forward.
We jumped into an animated film [after the last movie] and we are developing [a] live-action film. I want to bring all these stories together as a universe that makes sense within itself. Part...
- 3/22/2017
- by H. Perry Horton
- FilmSchoolRejects.com
Fierce, committed and above all, tough — these are the words that collaborators use to describe producer Robin O’Hara, a longtime fixture of the New York independent film scene, who died suddenly last week after complications from cancer treatment.
When O’Hara’s business and life partner Scott Macaulay of Forensic Films posted the sad news on Facebook last Wednesday, hundreds of prominent filmmakers, former crewmembers, and friends from across the independent film world offered an outpouring of condolences, remembrances, and testimonies about O’Hara’s importance in nurturing their art and their careers.
As “Saving Face” director Alice Wu wrote, “She was brilliant and mercurial and hilarious and terrifying. She gave no fucks — unless she did give a fuck — and then she gave everything. Anyone who has been lucky enough to be in her orbit never lets go. She pushed us all … and we became better people.”
Echoing Wu,...
When O’Hara’s business and life partner Scott Macaulay of Forensic Films posted the sad news on Facebook last Wednesday, hundreds of prominent filmmakers, former crewmembers, and friends from across the independent film world offered an outpouring of condolences, remembrances, and testimonies about O’Hara’s importance in nurturing their art and their careers.
As “Saving Face” director Alice Wu wrote, “She was brilliant and mercurial and hilarious and terrifying. She gave no fucks — unless she did give a fuck — and then she gave everything. Anyone who has been lucky enough to be in her orbit never lets go. She pushed us all … and we became better people.”
Echoing Wu,...
- 3/20/2017
- by Anthony Kaufman
- Indiewire
No one will forget the Best Picture award ceremony at the 2017 Academy Awards, but there’s a detail lost in the shock and recriminations: It was the moment that announced A24 as an industry gamechanger. Five years after the distributor supported unorthodox indies like Harmony Korine’s “Spring Breakers” and Jonathan Glazer’s “Under The Skin,” A24 saw its $1.5 million poetic drama “Moonlight” pull off a surprise best-picture win — one that led to a stunning $2.5 million box-office take in the film’s 20th week of release.
In less than five years, A24 has galvanized a young cinephile audience that seemed so elusive, some doubted its existence. A24 certainly wasn’t the first to identify this demo; predecessors such as Magnolia, RADiUS, and Oscilloscope saw the same potential, and created some of the marketing tactics that now have become playbook. However, A24 had the advantage of a business strategy, and backing,...
In less than five years, A24 has galvanized a young cinephile audience that seemed so elusive, some doubted its existence. A24 certainly wasn’t the first to identify this demo; predecessors such as Magnolia, RADiUS, and Oscilloscope saw the same potential, and created some of the marketing tactics that now have become playbook. However, A24 had the advantage of a business strategy, and backing,...
- 3/8/2017
- by Eric Kohn
- Indiewire
The Duplass brothers, Jay and Mark, put together a list of their top nine favorite films available on Sundance Now, the streaming service with award winning films, documentaries and TV series. Their curated collection features the early works of directors like Barry Jenkins, Andrea Arnold and Andrew Haigh, among others.
Since it’s a list for Sundance Now, the brothers recommended movies that in their mind are “quintessentially Sundancian” and have a “rawness of emotion.”
“In my mind, these films have a surprising number of specific elements in common: pin-pointed specific point of view from the director, a first or early film, non-professional actors, an uncontrolled documentary style, low budget, rawness of emotion, and performances that make your subconscious wonder at times if it’s a documentary,” said Jay Duplass. “More than anything, the films feel like they have been made by someone very specific, and you get the feeling...
Since it’s a list for Sundance Now, the brothers recommended movies that in their mind are “quintessentially Sundancian” and have a “rawness of emotion.”
“In my mind, these films have a surprising number of specific elements in common: pin-pointed specific point of view from the director, a first or early film, non-professional actors, an uncontrolled documentary style, low budget, rawness of emotion, and performances that make your subconscious wonder at times if it’s a documentary,” said Jay Duplass. “More than anything, the films feel like they have been made by someone very specific, and you get the feeling...
- 12/15/2016
- by Liz Calvario
- Indiewire
While Marvel has been pretty orderly about their cinematic universe early on, at least one movie fell through the cracks: “Runaways.” The project was one that Joss Whedon was once in the running for prior to landing “The Avengers,” and for a good amount of time, Peter Sollett (“Nick & Norah’s Infinite Playlist,” “Raising Victor Vargas”) […]
The post Marvel Reconfigures ‘Runaways’ As Hulu Series appeared first on The Playlist.
The post Marvel Reconfigures ‘Runaways’ As Hulu Series appeared first on The Playlist.
- 8/17/2016
- by Kevin Jagernauth
- The Playlist
Exclusive: One of the most upsetting child murder cases in recent memory is the subject of a provocative feature film. Meridian Entertainment is financing, and James Schamus’ Symbolic Exchange is producing Casting JonBenet, a film that is part documentary, part narrative feature, directed by Kitty Green (The Face of Ukraine: Casting Oksana Baiul). The picture shot quietly in Colorado and production is just completed. Scott Macaulay (Raising Victor Vargas) is producing…...
- 4/15/2016
- Deadline
For over 30 years Sundance Institute has been an iconic organization providing opportunities and resources to independent filmmakers and those that want to support them. Their two flagship programs are the renowned Screenwriters Lab and the Directors Lab, which allow up-and-coming artists to interact and receive mentorship from successful and acclaimed members of the film industry. To say that being part of one these programs is a once in a lifetime opportunity is an understatement. The proof is in the undeniable quality of the projects that are shaped during the labs and that eventually become part of the cinematic conversation.
While fostering talent is what Sundance Institute does best, they are one of the institutions that most diligently reinforces their commitment to provide opportunities for new voices that represent an eclectic array of backgrounds and experiences. In order to cast their net of support even wider, the institute offers numerous exciting programs beyond those that are already well-known in the filmmaking community. As part of Sundance Institute's Diversity Initiative, the Screenwriters Intensive is an invaluable resource that focuses on stories outside of the homogenous fare.
The program is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
The screening this year was Andrew Ahn's "Spa Night," which premiered at the Sundance Film Festival back in January and has now been picked up for U.S distribution by Strand Releasing. Centered on the conflicted son of a Korean immigrant couple in Los Angeles, Ahn's subtle yet poignant narrative deals with issues of identity both sexual and cultural. For the second day of the workshop, the fellows had one-on-one meetings with celebrated figures in independent cinema: Miranda July, Jennifer Salt, Deena Goldstone, Patricia Cardoso, Pete Sollett, Dana Stevens, Tanya Hamilton, Ligiah Villalobos, Scott Neustadter, and Kyle Patrick Alvarez
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
The application for the 2017 January Screenwriters Lab is currently open with a deadline of May 3. Applicants for the Screenwriters Lab are also considered for the Screenwriters Intensive, Sundance Institute Asian American Fellowship, and the Sundance Institute Feature Film Program Latino Fellowship, as eligibility allows. To learn more about the Sundance Institute's programs visit Here.
Khalik Allah
Project: "Kareem"
Khalik Allah is a self taught filmmaker and photographer. His work has been described as visceral, hauntingly beautiful, penetrative and profoundly personal. Photography and filmmaking are two overlapping circles that form a venn diagram in Allah’s mind; the area where they overlap is the space he inhabits as an artist. Allah’s cinematic vignettes document hardscrabble life at the corner of 125th Street and Lexington Avenue in Harlem (New York City), most recently in his award-winning documentary Field Niggas, which screened at festivals worldwide.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
My project is in an incredibly early stage. I'm basically taking the last four years of my life as a photographer on 125th and Lex and adapting it into a fiction narrative.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing was the mutual inspiration we gave each other. The lab advisors helped us dig deeper into ourselves. Their faith in us was tremendous. I took away a new lease on my future.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I met with Miranda July on day two of the lab. Wow she was incredible. She read my entire script and gave me many productive notes. I was impressed that she gave me so much time. Plenty of useful information I can implement.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I must keep writing.
Zia Anger
Project: "Despues De"
Zia Anger is a filmmaker and music video director. Her most recent short, "My Last Film," premiered at the 53rd New York Film Festival. In 2015, her short "I Remember Nothing" had its world premiere at New Directors/New Films and its international premiere at Festival del film Locarno. Other screenings include: AFI Fest, Denver Film Festival, Maryland Film Festival, Ann Arbor Film Festival, Basilica Soundscape, Intuit: The Center for Intuitive and Outsider Art, and Vienna Independent Shorts. She has made music videos for various independent artists, including Angel Olsen, Julianna Barwick, and Jenny Hval, the latter of whom she also tours with, projecting live video and participating as a performer. Her music videos have been featured in various online publications including: Pitchfork, the Guardian, and NPR. In 2015, Anger was included in Filmmaker Magazine's "25 New Faces of Independent Film" issue. She was a 2015 fellow in film/video from the New York Foundation for the Arts. In 2008, she was the recipient of the Panavision New Filmmaker Grant for her short film "Lover Boy." She holds a BA/Bs from Ithaca College and a Mfa from The School of the Arts Institute of Chicago.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Despues De" is about a missing white woman, a mother and daughter who try to find her, and the days leading up to her disappearance on a sorority vacation. It dissects the very particular mythological figures created by our tabloid crazed culture, white women's obsessions with themselves and each other, and the people and places who are alienated in their wake. I would say the project is creatively at the point where it's similar to someone in their late twenties, when you think "wow I know a lot, but fuck there is so much more and I'm open to that," as opposed to "I just turned 21 and I literally know it all." Artistically it calls for a certain amount of precision where high and low brow filmmaking techniques kind of collapse on to each other and end up smooching.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Joan seems to have figured out a really simple way to help even the most stubborn of (non) writers reenter their work at a time when it might seem impossible. What's cool is that once you do it it's really easy to do again. I'm thinking that having this point of access will be crucial to the continued creative development of the piece, beyond writing and moving in to those difficult creative moments onset, in the editing room, all those places you normally forget everything you've already figured out.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Immediately it's exciting to sit the the same room with someone who speaks the same alien language as you but who has had the experience deal with people who don't. I think it was Bergman or someone who talked about how inadequate a script can be, considering it's just this middle step. I find myself so disillusioned with this middle step and constantly questioning what exactly it's supposed to function as. It's a good exercise to talk through what is important and what should be more developed and also where you can cut the fat.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Probably keep learning.
Chris Benson
Project: "Death of Innocence"
Christopher Benson, a journalist and lawyer, is an associate professor of Journalism and African American Studies at the University of Illinois at Urbana-Champaign. He has worked as a city hall reporter in Chicago for Wbmx-fm, as Washington Editor for Ebony magazine, and as a speechwriter for Washington, D.C. politicians, including former Congressman Harold Washington and Eeoc Chair Clarence Thomas. He also has written for Chicago, Savoy, Jet, and The Crisis magazines, and has contributed to the Washington Post, the Chicago Tribune, and the Chicago Sun-Times. Most recently, he has written commentary on justice, race and media for the Chicago Reporter and the Huffington Post. His Chicago Reporter series on the wrongful murder conviction of Anthony Dansberry contributed to Dansberry’s release from prison (after serving 23 years) and earned Benson a Peter Lisagor Award for exemplary journalism. Benson also was a co-writer and associate producer of the Wttw Channel 11 documentary "Paper Trail: 100 Years of the Chicago Defender," and was named on two of the documentary’s three regional Emmy Awards, as well as another Lisagor Award. Benson is co-author with Mamie Till-Mobley of "Death of Innocence: The Story of the Hate Crime That Changed America," the account of the 1955 lynching of Mrs. Till-Mobley’s son, Emmett Till, and the winner of the 2003 Robert F. Kennedy Book Award Special Recognition. The feature adaptation of the book will be executive produced by Chaz Ebert and Shatterglass Films
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
Our project is titled "Death of Innocence" and it is the screen adaptation of a book I co-authored with the late Mamie Till-Mobley about the life and tragic death of her son, Emmett Till. Through this project that focuses on the brutal 1955 lynching of a 14 year-old kid, we want to help people make connections between the violent enforcement of racial segregation and the shooting deaths of young African American males by people who still are getting away with it in our contemporary moment. We also want to show how one person—in this case, Mamie Till-Mobley—can make a difference in the struggle for social and legal justice in America. This clearly is a challenge we still face and we need to learn lessons from some of the unsung heroes of the Civil Rights Movement. That is what we are trying to show with this picture.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
One of the many things I have taken away from the first day of the Sundance Screenwriters Lab is that I have to take ownership of the characters who populate this story—even this story based on true events and real people. As a professional journalist, I have spent years trying to keep a distance from the issues I write about and the people who humanize those stories, who breathe life into them. Despite cynical public opinion, journalists do go after the truth. In screenwriting, we are going after the essential truth. What is the meaning of everything that appears on the screen? So, even in stories based on real events, we are not simply cataloguing a series of facts in a sequence of scenes. We are supposed to find the story that rises from all those facts. The essential truth. The true meaning. That will affect my screenwriting for some time beyond the successful completion of this project.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I have to say that the coordinators of the Sundance Lab experience clearly put a lot of care and thought into developing a perfect match of advisors and fellows. The second day discussions with my advisors was phenomenal. As with the Sundance organizers, they had read the script very carefully and approached my sessions with a devotion to maintaining the integrity of the story, and helping fulfill the purpose we had set out to accomplish. It was amazing to listen to the comments that reflected a deep appreciation of the characters, the story and even the potential impact of this piece. I was especially struck by the connection my advisors felt with the main character, Mamie Till-Mobley, and the advice I was given to develop her and her motivation to a level that will result in quite a powerful rendering. I can't wait to get started on the notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My plan is to work with the notes I was given to consider ways to perfect the script. My advisors have indicated an interest in staying in touch on this, so that ongoing conversation will be great. The first step I am taking after the Sundance Lab is to engage in discussions with the other producers on our project to ensure that we all on the same page. Next will be to coordinate with the collaborators on the script to talk about the ideas that have emerged from the lab experience. Finally, I will begin to interpret it all on the page, and I am eager to see where the story takes me.
Shakti Bhagchandani
Project: "Purdah"
Shakti Bhagchandani is a screenwriter/director born and raised in the United Arab Emirates. She grew up in Dubai, in a melting pot of religion and culture, and cultivated her writing abilities with the help of her mother. She travelled to London to pursue a BA in English Literature at King's College London and while there she was awarded the prestigious Jelf Medal for her contributions to art and charity. While pursuing her undergraduate degree, she interned at the Vineyard Theatre in New York, the Gate Theatre and National Theatre Studio in London, and the Antenna Theatre in San Francisco. She directed a number of student and semi professional plays, including "Fanny & Faggot" by Jack Thorne and "Pornography" by Simon Stephens. After graduation she moved to New York to pursue an Mfa in Screenwriting & Directing at Columbia University. She is currently in her thesis years, specializing in Screenwriting under advisor Trey Ellis. While at Columbia, she has worked on a number of shorts, and as a writer her last short "Khargosh" screened at Palm Springs International ShortFest and won the Satyajit Ray Award at the London Indian Film Festival. Her first feature screenplay, "Bidoun", was shortlisted for the Sundance Screenwriter's Lab 2015, and her current feature project "Purdah" has been selected for the Sundance Screenwriter's Intensive Lab in La. She recently wrapped production on her short "LostFound" that she wrote and directed, and is currently in preproduction for her next short "Tunisian Jasmine" which is set in the UAE.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular. .
'Purdah' is a coming of age drama that follows a 16-year-old British Pakistani girl as she grapples with her burgeoning womanhood and her precarious sexuality in a world built on segregation and coercion. The project is currently in development.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day of the lab included one of the most invigorating writing workshops I've ever been a part of. Joan is a miracle worker! She guided us through a haze of snowploughs, dream sequences and inner monologues, and by the end of it I had somehow come up with about 20 new scene ideas. Characters I had neglected before were suddenly infused with new life and the possibilities for the story feels limitless. Andrew's film and the discussion afterwards was intensely inspiring and the perfect way to round off the day - he helped us believe that the future of our projects is entirely real and attainable.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?.
Patricia and Dana are wonderful! It was amazing to sit across from these incredible, passionate women - they were nurturing, encouraging and boundlessly generous with their advice. They talked about their own trajectories and experiences. They motivated me to dig deeper, to fine tune every detail, and to have faith in myself and the project. They came at my script from completely different angles, offering story notes, a ton of production thoughts, and advice on how to move forward with not only the script, but also my career.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Revise, revise, revise. And then revise again. The lab helped me see how much potential this story has and how much work it still needs. There is so much left to unearth and I'm excited to get started.
Reinaldo Marcus Green
Project: "Monsters and Men"
New York native Reinaldo Marcus Green is a writer, director, and producer. He is currently a thesis student at Nyu Tisch Graduate Film School and writing his first feature narrative, "Monsters and Men." Most recently, he was named one of Filmmaker Magazine’s 25 New Faces of Independent Film (2015). His latest short film "Stop," which he wrote, produced, and directed, premiered as an official selection at the Sundance Film Festival in January 2015. His previous short film, "Stone Cars," shot on a micro-budget in South Africa, had its international premiere as an official Cinéfondation selection at the Festival de Cannes 2014.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
At its core, "Monsters and Men" is a story about perspective.
The film consists of three interlocking stories, each told through the point-of-view of three protagonists -- Manny, a street hustler, Stacey, a female police officer, and Zyric, a high school athlete.
When Manny captures an illegal act of police violence on his cellphone, he unwittingly sets off a series of events that will alter the course of each of their lives...
"Monsters and Men's" three chapters connect narratively and thematically, painting a portrait of modern-day Brooklyn -- a community caught in the crosswinds of crime, police corruption, and social instability.
We’re in the final stage of development, planning to shoot this summer 2016 in Brooklyn, New York. We hope to cast the net wide and far in order to provide opportunities for new undiscovered talent, and new exciting voices. The ideal cast would be a mix of professional and non-professional actors. New York is full of immense diverse talent we can’t wait to work with.
As a filmmaker, my goal is to tell powerful, urgently-needed and authentic stories. I see a unique opportunity to challenge the status quo of independent cinema, to craft entertaining stories with heart and meaning - films which possess social relevance, emotional complexity and thematic resonance.
Ultimately, its my hope to create a highly-compelling narrative feature, entertaining to watch, but one which will add to the social conversation about law enforcement, violence, and justice in America. We want to share that experience with audiences in other places in the world, by giving rise to growing communities who are often marginalized and whose stories are rarely seen in film.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
First and foremost, I felt very lucky to be a part of such an amazingly talented group of filmmakers, with a broad range of diverse projects, across all genres. It was fascinating to see where my script fits in the larger spectrum, and what I realized is that each and every story at the lab was an outlier. Each writer had a singular voice, a unique take on genre, character, story, and structure.
The Lesson: “Come in from the side.”
During Day One at the lab, I felt I threw out any preconceived notions I had about my own script. It allowed me to digress and deconstruct without internally combusting. Joan Tewkesbury, a true master at her craft, went right to the core of who we were as human beings, ultimately going right into the core of who and what our scripts were all about, and what they have the potential to become. I think fear is something that holds most people back, the same fear that the world was once flat and we would sail off the edge. Joan refocused my center of gravity and provided me with tools to “access” that inner child, be playful and to keep digging.
Character is at the core of who we are and what makes us human. The digger we deep, the more we reveal about ourselves. I believe in that if I continue the excavation process, with delicate precision, and a gentle curiosity, it will serve me well in all my writing. I can’t be afraid to find out who I am underneath the surface, although sometime we bury things for a reason — because we don’t want to go there — there’s pain hidden in various forms. In writing, there’s a seemingly impenetrable darkness and then there’s light.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The opportunity to sit down with Peter Sollett and Tanya Hamilton was truly a special treat for me. Not only did are they both masters of their craft and highly-regarded writers and directors within their own right, I had been a big fan of their work before meeting them. Peter’s short film "Five Feet High and Rising," which he later turned into a feature, "Raising Victor Vargas" are two works that I admire deeply, and they have been a source for inspiration since the genius of the project.
Both Peter and Tanya are so sharp and so astute, it makes for brilliant analysis and conversation.
They have a slightly different approach to story, but essentially meet somewhere in the middle; Character. With both advisors, we really stepped back from the script — taking a birds eye view of what the film really means to me and how and what the best way to achieve telling it would be moving forward. We talked a lot about character, world, and theme.
Tanya and Peter both offered many ideas for “problem solving” — helping me hone in on areas in the script that could be refined and strengthened. It’s evident in their own work how much they care about the craft — both offering truly thoughtful insight and perspective into how each scene could advance the story. We discussed ways to deepen characters and how to build a compelling and complex world without compromising my voice, or the story I want to tell.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I think the simplest answer is to just keep writing. There’s still a ton of information to digest from the lab but the key is to not get bogged down in semantics, to move beyond the fear and paralysis that we create for ourselves. It’s time to problem solve, lock myself in a room and just write. More coffee please.
Jessie Kahnweiler
Project: "Meet My Rapist"
Jessie Kahnweiler has been featured in The New York Times, CNN, TMZ, People, The Hollywood Reporter, New York Magazine, Mashable, Buzzfeed, Elle, The Daily Beast, Jezebel, Indiewire, La Weekly, The Huffington Post, and The Independent. At the University of Redlands, Kahnweiler quickly began ditching class in order to make documentaries. For her thesis film, Little America, she hitchhiked across the country to explore the world of America’s truck drivers. After getting dumped, she wrote and co-directed the comedic short "Baby Love," co-starring alongside "Anchorman’s" David Koechner. Kahnweiler was selected for the 6 Points Artist Fellowship which inspired her comedic web series entitled "Dude, Where’s my Chutzpah?" Her short "Meet my Rapist," a dark comedy about running into her rapist at the Farmers’ Market, inspired her live show "The Rape Girl." Kahnweiler confronted her own white privilege in her viral hit "Jessie Gets Arrested." Her latest project, for which she serves as writer, director, and stars, is "The Skinny," a dark comedic series based on her 10 year relationship with bulimia. It premiered at the 2016 Sundance Film Festival and is produced by Refinery29 and Jill Soloway’s Wifey.tv Kahnweiler lives in La with her plants.
Describe your project briefly and at what stage in the creative process it is.
Include details about your artistic vision for this project in particular. My project is called "Meet My Rapist" and it is loosely based on a short film I made of the same name a few years ago. After the short had it's 15 minutes online I was moving on to other projects but I felt this gnawing at my gut. I tried to ignore it, popped some advil, and went to yoga but that gnawing just wouldn't stop. That annoying painful gnawing was the beginnings of this script. I've been working on the script on and off for about a year. I'm at the stage where I need to take out most of the flippant jokes and get to the real meat of the matter - the heart, the pain. I need to live and cry this story out. Because the project is so personal it is easy for me to get lost in it. Sometimes I forget where I end and my characters begin. So being at the Sundance lab is great timing. I feel totes blessed.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
That I can't hide behind my jokes. After writing in a feeling state all day our amazing teaching Joan looked at me and was like "Your movie is a song and you gotta hit the bass notes." I was like Mic Drop. I love the challenge of making something that is a comedy based in the tragedy of human reality. That is my north star for this movie. I'm not sure if I will get there but that's where I'll be heading.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was incredible to take a deep dive into the script with women who so deeply understand screenwriting from the inside out. The feedback was never like "do it My way" it was more about ripping open the guts of the script and getting to that deeper level. Okay this happens but Why? Screenwriting can be so daunting like "I need write the perfect thing so I can get an agent so I can get hired etc. " and the process can be so lonely and daunting . But in both my sessions we just talked about human behavior and what makes people tick and it reminded me that filmmaking is magic and I'm really lucky to be here. Also a woman, it was inspiring to meet with other women who are living my dream. Who are feeling for a living. In both my sessions I laughed, cried, and go to ask as many questions I wanted it. It was basically my ideal Tinder date.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I'm going to keep working on drafts of the script, keep sharing it with people I trust, keep begging Sundance to let me come over and eat bagels, keep pitching it to anyone who will listen, keep crying, keep feeling, keep making my movie.
Allison Lee
Project: "Jawbone"
Born in Washington, D.C. and raised in Los Angeles, Allison Lee studied English Language and Literature at the University of Chicago. She received her Mfa in Film and Television Production from the University of Southern California’s School of Cinematic Arts. Upon graduation, she worked in development and production at DreamWorks and NBCUniversal. Lee has received grants from the Media Action Network and the Academy of Motion Pictures, Arts and Sciences. She was also named a Project Involve fellow, and her short The Grizzly was produced by Film Independent. In 2015, she was one of five screenwriters who received a residency through the inaugural Hedgebrook Screenwriters Lab, where she was mentored by Jenny Bicks and Jane Anderson.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Jawbone" is about a Korean woman who undergoes drastic plastic surgery as a means to achieve what she and her peers view as success. After she gives birth to a daughter who looks nothing like her, her life begins to unravel and she’s forced to confront her past.
I am currently grappling with rewrites while meeting with potential producers and crew.
I see "Jawbone" as a hybrid of Korean cinema and American independent film. Korean movies relish the tension in tightly wound familial and social relationships. I think my personal connection to this fabric helps me discern and explore where the similarities and differences to American culture begin and end. I also think the best American independent films underscore the universality of specific personal stories, and I aspire to follow in this tradition.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I felt transformed by the sessions with Joan Tewkesbury. She pushed us to bare our souls and delve into our histories to deliver stories that were truthful and specific. My biggest fear about "Jawbone" is that a few extreme events in the plot would read as absurdist melodrama. Relating these events back to some of my own crises helped me re-center the emotional truth of my characters and their journeys.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was crucial to work with filmmakers who knew the Sundance aesthetic and had weathered the challenges before us. I knew the script needed improvement but had a hazy vision of what it required. Tanya Hamilton’s notes were both encouraging and precise about galvanizing and concretizing the protagonist’s journey. Patricia Cardoso, with her directorial and producerial expertise, reminded me that my artistic flights of fancy should still be grounded in reality and be economical and pragmatic. The breadth of their approaches made me feel like I was getting the best of all worlds.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am hustling on a rewrite ready to be seen by producers and representatives. Ultimately, I want to direct "Jawbone," and I am also working on a short film version.
Eliza Lee
Project: "A Beautiful Lie"
Educated in Canada and the Czech Republic, Eliza Lee began in Asia as a Dp trainee before returning to her first passion: screenwriting. She takes great pride in world building for her complex women characters. Lee’s feature, Maybe Tomorrow, about rock legend Chrissie Hynde of The Pretenders, is being produced by Michelle Sy ("Finding Neverland") and Sophia Chang (former artist manager for Wu Tang Clan), with Academy Award nominee Steph Green ("Run & Jump") attached to direct. Lee’s screenplay, "A Beautiful Lie," about crime novelist Patricia Highsmith, was honored at the 2015 Athena Film Festival, and was also selected for the 2015 Outfest Screenwriting Lab. In addition, she was a Cape 2015 Film & Television Fellow and was mentored by various executives from Sony, Paramount, and Fox, among others. Lee has several features and television projects in development. She is the 2016 Sundance Institute Asian American Fellow.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
When Strangers on the Train was published in 1950 and with the anticipation for it to be turned into a film by Alfred Hitchcock, Patricia Highsmith was catapulted into the literary spotlight. Here she thought was her opportunity to break free of the crime genre and finally write her Great American novel. Except, it was at the height of McCarthy’s witch hunt, and her Great American novel would become the iconic lesbian tale, The Price of Salt. In the book, Patricia defiantly gave her lesbian main characters a happy ending together, but faced with the real threat of being blacklisted, she is forced to publish it under a pseudonym. This decision would send her down a path of alcoholism, promiscuity and loneliness as she realized she would not have the happy ending she wrote.
With this story, I knew it had to come from the seminal moment in her life. And for me, it is when she braved writing The Price of Salt at a time where being who you are and believing in what you do can land you in jail, exile or financial ruin. She had to deny her nature, and coupled with a growing rage it would breed the infamous “monster” that would come to define her in her later years.
While her male peers have enjoyed forgiving, pedestal descriptors like "troubled", "complex" or the genius "l'enfant terrible", Highsmith was shown no such generosity.
On top of that, I am struck how often pictures of her old age are published displaying her alcohol and anger ravaged face. We made that. Juxtapose those with photos of Highsmith at 21, so full of hope, vitality and ready for all the wonders of love, and it is clear - she was born this way. "A Beautiful Lie" is about a woman’s quest for love when it was a crime.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Specifically, I learned I hide behind fiction or through my characters and not have to admit the narrative comes from a personal place. Through an incredibly safe and nurturing environment on the first day, Joan Tewksbury led us through a series of spontaneous and revelatory writing exercises that at first seemed random, but without time to allow the self-censor to kick in, the writing showcased how many more complex layers we can apply to our characters through our uninhibited sharing of our personal experiences. As a result, because the stories come from us, they are inherently going to be personal. It was like sleight of hand for the imagination.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were there to help us tell the story we want to tell. And the one-on-one sessions were focused solely on the writing, and was intended to be a dialogue. It was humbling to learn the tremendous amount of time they took to burrow deep into our scripts. I was thoroughly empowered by what these writers offered me, and excited that I could challenge such seasoned pros with my perspective and approach to telling a story. Ligiah Villalobos dared me to linger longer in emotional scenes and to take my pursuit for emotional truths for my character even further. While Scott Neustadter and I discussed much about memories as structure, he also pushed me to defy a note i have received that my character is “unlikable” and to allow her to have even more anti-hero moments. i concluded my last day at the Intensive with their voices unifying in the same sentiment: they have a good feeling the film will be made.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Through the Sundance Intensive, I have a clear idea of what is my next step, and that is to apply another layer of shading to my portrait of Patricia Highsmith. I’m anxious to keep the momentum going, and then take it out to talent. I’m going to realize this film.
Jimmy Mosqueda
Project: "Valedictorian"
Jimmy Mosqueda is a lifelong California resident, the son of two Mexican migrant workers, and a graduate of Stanford University. From an early age he showed a fondness for writing, starting his first journal at the age of five, which developed into a passion for writing short stories, poetry and eventually screenplays. While attending Stanford on a full scholarship, Mosqueda saw how social class and race influenced the experiences of his fellow students, which made him realize just how much the American educational system is intimately tied to those pillars. The intersection of race, class, and education remains an ongoing theme in his works. Today, Mosqueda lives in Los Angeles and writes full-time. His screenplays have placed in numerous contests, including as a finalist in the Austin Film Festival, Script Pipeline and TrackingB competitions, and as a semifinalist in the Nicholl Fellowship. He’s represented by Angelina Chen and Brooklyn Weaver of Energy Entertainment, and is actively developing projects for film and television.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Valedictorian" is dark teen comedy in the vein of "Election" and "Heathers." It’s about an ambitious teenage girl who do anything to be crowned valedictorian of her high school, including a little bit of murder. So, you know, just like real high school! I started writing this project about three years ago. It was inspired by my own school experiences, where everyone on the Honors track was super competitive and had their sights set on the Ivy League. Readers respond positively to the comedy and the heightened world of the script, which is great, but one thing I felt got buried underneath the multitude of drafts is the emotional core of the main character. So during the Intensive my main goal was to rediscover who she was and, building out from that, the reason why I wanted to tell this story in the first place.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing I learned from the workshop with Joan Tewkesbury is that creative development is not about brainstorming characters or story points. All of us have unique, personal experiences and emotions that can form the building blocks of a story. You really have to look inward and tap that raw data, or else run the risk of your story ringing hollow. A lot of artists understand this intuitively, I believe, but Joan’s workshop laid it out in such clear and simple terms. For my next draft of "Valedictorian," I’m going to use these techniques as a stress test, but in all honesty I want to go back and revisit every project I ever worked on using this approach now.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
My advisors were the bee’s knees, if I can be so blunt. My first session was with Scott Neustadter, who along with his writing partner has written a lot of films with teen lead characters. He very clearly understood what the script was, and gave very specific, actionable notes on how to improve what’s already there. I love how he was able to cut through and really get at the core issues of script, which were mostly the same issues I had going in. Scott is killing the screenwriting game right now. His insights were invaluable.
My second session was with Kyle Patrick Alvarez. We spent a lot of time talking about the main character, her motivation, her relationships, and how she “earns” the big moments/twists in the script. We also spent some time talking bigger picture about the industry and how to build a career in Hollywood, which was very much appreciated. Additionally, it was great getting the perspective of another Latino in the industry.
Both men were truly gracious with their time. I left both sessions feeling inspired!
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
After stepping off Cloud 9, it’s back to the computer and working on a new draft of "Valedictorian." In addition, I will also be tackling a new draft of the pilot version. It’s the same world and characters, but with a different engine that is geared towards episodic narrative. Many of the notes I got from Scott and Kyle apply to the pilot version as well, so it’s like getting two for the price of one!
Finally, I just want to thank everyone involved with putting together the Intensive: Ilyse McKimmie, Michelle Satter, Anne Lai, Shira Rockowitz and everyone at the Sundance Institute who made this possible. I am forever grateful for the experience.
Lotfy Nathan
Project: Untitled Bouazizi Project
Lotfy Nathan’s first film, the documentary "12 O’Clock Boys," played over 50 film festivals worldwide, including SXSW, Sundance Next Fest, Lincoln Center, Viennale, Hot Docs, London, and Copenhagen in 2013. It was ranked 7 in the BFI list of top 20 documentaries of 2013, and garnered Nathan an HBO Emerging Artist award. "12 O’Clock Boys" was subsequently picked up by Oscilloscope for a North American release in theaters, acquired by Showtime for television, and was optioned for a fiction remake by Will Smith’s Overbrook Entertainment. Nathan is a 2015 grantee of the Creative Capital Foundation, a resident filmmaker at the Cinereach Foundation, and a previous awardee of the Garrett Scott development grant, the Peter Reed Foundation, the Grainger Marburg travel grant, and an Ifp fellowship.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
The film is about Mohamed Bouazizi, the young Tunisian fruit vendor whose act of self-immolation sparked the Arab spring. It’s a love story, apolitical (as the subject of our protagonist was); about a young man’s steady undoing, and his final bittersweet act of defiance. The film will be shot on location, with cast selected locally besides the principles, and filmed with an immersive approach.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
We were encouraged to draw from very specific personal experiences, prompted by Joan It was incredible to learn these tools, which enable you to tap into vast resources from your own life that you can then apply to the writing- and so vividly. I think the writing exercises with Joan actually stirred a very unusual dream for me that night.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were very motivating. I left with pages of notes on my writing, tangible pieces of smart advice that will help inform the next draft.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Before getting back to work on the script I plan to do some other writing on the characters.
While fostering talent is what Sundance Institute does best, they are one of the institutions that most diligently reinforces their commitment to provide opportunities for new voices that represent an eclectic array of backgrounds and experiences. In order to cast their net of support even wider, the institute offers numerous exciting programs beyond those that are already well-known in the filmmaking community. As part of Sundance Institute's Diversity Initiative, the Screenwriters Intensive is an invaluable resource that focuses on stories outside of the homogenous fare.
The program is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
The screening this year was Andrew Ahn's "Spa Night," which premiered at the Sundance Film Festival back in January and has now been picked up for U.S distribution by Strand Releasing. Centered on the conflicted son of a Korean immigrant couple in Los Angeles, Ahn's subtle yet poignant narrative deals with issues of identity both sexual and cultural. For the second day of the workshop, the fellows had one-on-one meetings with celebrated figures in independent cinema: Miranda July, Jennifer Salt, Deena Goldstone, Patricia Cardoso, Pete Sollett, Dana Stevens, Tanya Hamilton, Ligiah Villalobos, Scott Neustadter, and Kyle Patrick Alvarez
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
The application for the 2017 January Screenwriters Lab is currently open with a deadline of May 3. Applicants for the Screenwriters Lab are also considered for the Screenwriters Intensive, Sundance Institute Asian American Fellowship, and the Sundance Institute Feature Film Program Latino Fellowship, as eligibility allows. To learn more about the Sundance Institute's programs visit Here.
Khalik Allah
Project: "Kareem"
Khalik Allah is a self taught filmmaker and photographer. His work has been described as visceral, hauntingly beautiful, penetrative and profoundly personal. Photography and filmmaking are two overlapping circles that form a venn diagram in Allah’s mind; the area where they overlap is the space he inhabits as an artist. Allah’s cinematic vignettes document hardscrabble life at the corner of 125th Street and Lexington Avenue in Harlem (New York City), most recently in his award-winning documentary Field Niggas, which screened at festivals worldwide.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
My project is in an incredibly early stage. I'm basically taking the last four years of my life as a photographer on 125th and Lex and adapting it into a fiction narrative.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing was the mutual inspiration we gave each other. The lab advisors helped us dig deeper into ourselves. Their faith in us was tremendous. I took away a new lease on my future.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I met with Miranda July on day two of the lab. Wow she was incredible. She read my entire script and gave me many productive notes. I was impressed that she gave me so much time. Plenty of useful information I can implement.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I must keep writing.
Zia Anger
Project: "Despues De"
Zia Anger is a filmmaker and music video director. Her most recent short, "My Last Film," premiered at the 53rd New York Film Festival. In 2015, her short "I Remember Nothing" had its world premiere at New Directors/New Films and its international premiere at Festival del film Locarno. Other screenings include: AFI Fest, Denver Film Festival, Maryland Film Festival, Ann Arbor Film Festival, Basilica Soundscape, Intuit: The Center for Intuitive and Outsider Art, and Vienna Independent Shorts. She has made music videos for various independent artists, including Angel Olsen, Julianna Barwick, and Jenny Hval, the latter of whom she also tours with, projecting live video and participating as a performer. Her music videos have been featured in various online publications including: Pitchfork, the Guardian, and NPR. In 2015, Anger was included in Filmmaker Magazine's "25 New Faces of Independent Film" issue. She was a 2015 fellow in film/video from the New York Foundation for the Arts. In 2008, she was the recipient of the Panavision New Filmmaker Grant for her short film "Lover Boy." She holds a BA/Bs from Ithaca College and a Mfa from The School of the Arts Institute of Chicago.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Despues De" is about a missing white woman, a mother and daughter who try to find her, and the days leading up to her disappearance on a sorority vacation. It dissects the very particular mythological figures created by our tabloid crazed culture, white women's obsessions with themselves and each other, and the people and places who are alienated in their wake. I would say the project is creatively at the point where it's similar to someone in their late twenties, when you think "wow I know a lot, but fuck there is so much more and I'm open to that," as opposed to "I just turned 21 and I literally know it all." Artistically it calls for a certain amount of precision where high and low brow filmmaking techniques kind of collapse on to each other and end up smooching.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Joan seems to have figured out a really simple way to help even the most stubborn of (non) writers reenter their work at a time when it might seem impossible. What's cool is that once you do it it's really easy to do again. I'm thinking that having this point of access will be crucial to the continued creative development of the piece, beyond writing and moving in to those difficult creative moments onset, in the editing room, all those places you normally forget everything you've already figured out.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Immediately it's exciting to sit the the same room with someone who speaks the same alien language as you but who has had the experience deal with people who don't. I think it was Bergman or someone who talked about how inadequate a script can be, considering it's just this middle step. I find myself so disillusioned with this middle step and constantly questioning what exactly it's supposed to function as. It's a good exercise to talk through what is important and what should be more developed and also where you can cut the fat.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Probably keep learning.
Chris Benson
Project: "Death of Innocence"
Christopher Benson, a journalist and lawyer, is an associate professor of Journalism and African American Studies at the University of Illinois at Urbana-Champaign. He has worked as a city hall reporter in Chicago for Wbmx-fm, as Washington Editor for Ebony magazine, and as a speechwriter for Washington, D.C. politicians, including former Congressman Harold Washington and Eeoc Chair Clarence Thomas. He also has written for Chicago, Savoy, Jet, and The Crisis magazines, and has contributed to the Washington Post, the Chicago Tribune, and the Chicago Sun-Times. Most recently, he has written commentary on justice, race and media for the Chicago Reporter and the Huffington Post. His Chicago Reporter series on the wrongful murder conviction of Anthony Dansberry contributed to Dansberry’s release from prison (after serving 23 years) and earned Benson a Peter Lisagor Award for exemplary journalism. Benson also was a co-writer and associate producer of the Wttw Channel 11 documentary "Paper Trail: 100 Years of the Chicago Defender," and was named on two of the documentary’s three regional Emmy Awards, as well as another Lisagor Award. Benson is co-author with Mamie Till-Mobley of "Death of Innocence: The Story of the Hate Crime That Changed America," the account of the 1955 lynching of Mrs. Till-Mobley’s son, Emmett Till, and the winner of the 2003 Robert F. Kennedy Book Award Special Recognition. The feature adaptation of the book will be executive produced by Chaz Ebert and Shatterglass Films
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
Our project is titled "Death of Innocence" and it is the screen adaptation of a book I co-authored with the late Mamie Till-Mobley about the life and tragic death of her son, Emmett Till. Through this project that focuses on the brutal 1955 lynching of a 14 year-old kid, we want to help people make connections between the violent enforcement of racial segregation and the shooting deaths of young African American males by people who still are getting away with it in our contemporary moment. We also want to show how one person—in this case, Mamie Till-Mobley—can make a difference in the struggle for social and legal justice in America. This clearly is a challenge we still face and we need to learn lessons from some of the unsung heroes of the Civil Rights Movement. That is what we are trying to show with this picture.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
One of the many things I have taken away from the first day of the Sundance Screenwriters Lab is that I have to take ownership of the characters who populate this story—even this story based on true events and real people. As a professional journalist, I have spent years trying to keep a distance from the issues I write about and the people who humanize those stories, who breathe life into them. Despite cynical public opinion, journalists do go after the truth. In screenwriting, we are going after the essential truth. What is the meaning of everything that appears on the screen? So, even in stories based on real events, we are not simply cataloguing a series of facts in a sequence of scenes. We are supposed to find the story that rises from all those facts. The essential truth. The true meaning. That will affect my screenwriting for some time beyond the successful completion of this project.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I have to say that the coordinators of the Sundance Lab experience clearly put a lot of care and thought into developing a perfect match of advisors and fellows. The second day discussions with my advisors was phenomenal. As with the Sundance organizers, they had read the script very carefully and approached my sessions with a devotion to maintaining the integrity of the story, and helping fulfill the purpose we had set out to accomplish. It was amazing to listen to the comments that reflected a deep appreciation of the characters, the story and even the potential impact of this piece. I was especially struck by the connection my advisors felt with the main character, Mamie Till-Mobley, and the advice I was given to develop her and her motivation to a level that will result in quite a powerful rendering. I can't wait to get started on the notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My plan is to work with the notes I was given to consider ways to perfect the script. My advisors have indicated an interest in staying in touch on this, so that ongoing conversation will be great. The first step I am taking after the Sundance Lab is to engage in discussions with the other producers on our project to ensure that we all on the same page. Next will be to coordinate with the collaborators on the script to talk about the ideas that have emerged from the lab experience. Finally, I will begin to interpret it all on the page, and I am eager to see where the story takes me.
Shakti Bhagchandani
Project: "Purdah"
Shakti Bhagchandani is a screenwriter/director born and raised in the United Arab Emirates. She grew up in Dubai, in a melting pot of religion and culture, and cultivated her writing abilities with the help of her mother. She travelled to London to pursue a BA in English Literature at King's College London and while there she was awarded the prestigious Jelf Medal for her contributions to art and charity. While pursuing her undergraduate degree, she interned at the Vineyard Theatre in New York, the Gate Theatre and National Theatre Studio in London, and the Antenna Theatre in San Francisco. She directed a number of student and semi professional plays, including "Fanny & Faggot" by Jack Thorne and "Pornography" by Simon Stephens. After graduation she moved to New York to pursue an Mfa in Screenwriting & Directing at Columbia University. She is currently in her thesis years, specializing in Screenwriting under advisor Trey Ellis. While at Columbia, she has worked on a number of shorts, and as a writer her last short "Khargosh" screened at Palm Springs International ShortFest and won the Satyajit Ray Award at the London Indian Film Festival. Her first feature screenplay, "Bidoun", was shortlisted for the Sundance Screenwriter's Lab 2015, and her current feature project "Purdah" has been selected for the Sundance Screenwriter's Intensive Lab in La. She recently wrapped production on her short "LostFound" that she wrote and directed, and is currently in preproduction for her next short "Tunisian Jasmine" which is set in the UAE.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular. .
'Purdah' is a coming of age drama that follows a 16-year-old British Pakistani girl as she grapples with her burgeoning womanhood and her precarious sexuality in a world built on segregation and coercion. The project is currently in development.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day of the lab included one of the most invigorating writing workshops I've ever been a part of. Joan is a miracle worker! She guided us through a haze of snowploughs, dream sequences and inner monologues, and by the end of it I had somehow come up with about 20 new scene ideas. Characters I had neglected before were suddenly infused with new life and the possibilities for the story feels limitless. Andrew's film and the discussion afterwards was intensely inspiring and the perfect way to round off the day - he helped us believe that the future of our projects is entirely real and attainable.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?.
Patricia and Dana are wonderful! It was amazing to sit across from these incredible, passionate women - they were nurturing, encouraging and boundlessly generous with their advice. They talked about their own trajectories and experiences. They motivated me to dig deeper, to fine tune every detail, and to have faith in myself and the project. They came at my script from completely different angles, offering story notes, a ton of production thoughts, and advice on how to move forward with not only the script, but also my career.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Revise, revise, revise. And then revise again. The lab helped me see how much potential this story has and how much work it still needs. There is so much left to unearth and I'm excited to get started.
Reinaldo Marcus Green
Project: "Monsters and Men"
New York native Reinaldo Marcus Green is a writer, director, and producer. He is currently a thesis student at Nyu Tisch Graduate Film School and writing his first feature narrative, "Monsters and Men." Most recently, he was named one of Filmmaker Magazine’s 25 New Faces of Independent Film (2015). His latest short film "Stop," which he wrote, produced, and directed, premiered as an official selection at the Sundance Film Festival in January 2015. His previous short film, "Stone Cars," shot on a micro-budget in South Africa, had its international premiere as an official Cinéfondation selection at the Festival de Cannes 2014.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
At its core, "Monsters and Men" is a story about perspective.
The film consists of three interlocking stories, each told through the point-of-view of three protagonists -- Manny, a street hustler, Stacey, a female police officer, and Zyric, a high school athlete.
When Manny captures an illegal act of police violence on his cellphone, he unwittingly sets off a series of events that will alter the course of each of their lives...
"Monsters and Men's" three chapters connect narratively and thematically, painting a portrait of modern-day Brooklyn -- a community caught in the crosswinds of crime, police corruption, and social instability.
We’re in the final stage of development, planning to shoot this summer 2016 in Brooklyn, New York. We hope to cast the net wide and far in order to provide opportunities for new undiscovered talent, and new exciting voices. The ideal cast would be a mix of professional and non-professional actors. New York is full of immense diverse talent we can’t wait to work with.
As a filmmaker, my goal is to tell powerful, urgently-needed and authentic stories. I see a unique opportunity to challenge the status quo of independent cinema, to craft entertaining stories with heart and meaning - films which possess social relevance, emotional complexity and thematic resonance.
Ultimately, its my hope to create a highly-compelling narrative feature, entertaining to watch, but one which will add to the social conversation about law enforcement, violence, and justice in America. We want to share that experience with audiences in other places in the world, by giving rise to growing communities who are often marginalized and whose stories are rarely seen in film.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
First and foremost, I felt very lucky to be a part of such an amazingly talented group of filmmakers, with a broad range of diverse projects, across all genres. It was fascinating to see where my script fits in the larger spectrum, and what I realized is that each and every story at the lab was an outlier. Each writer had a singular voice, a unique take on genre, character, story, and structure.
The Lesson: “Come in from the side.”
During Day One at the lab, I felt I threw out any preconceived notions I had about my own script. It allowed me to digress and deconstruct without internally combusting. Joan Tewkesbury, a true master at her craft, went right to the core of who we were as human beings, ultimately going right into the core of who and what our scripts were all about, and what they have the potential to become. I think fear is something that holds most people back, the same fear that the world was once flat and we would sail off the edge. Joan refocused my center of gravity and provided me with tools to “access” that inner child, be playful and to keep digging.
Character is at the core of who we are and what makes us human. The digger we deep, the more we reveal about ourselves. I believe in that if I continue the excavation process, with delicate precision, and a gentle curiosity, it will serve me well in all my writing. I can’t be afraid to find out who I am underneath the surface, although sometime we bury things for a reason — because we don’t want to go there — there’s pain hidden in various forms. In writing, there’s a seemingly impenetrable darkness and then there’s light.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The opportunity to sit down with Peter Sollett and Tanya Hamilton was truly a special treat for me. Not only did are they both masters of their craft and highly-regarded writers and directors within their own right, I had been a big fan of their work before meeting them. Peter’s short film "Five Feet High and Rising," which he later turned into a feature, "Raising Victor Vargas" are two works that I admire deeply, and they have been a source for inspiration since the genius of the project.
Both Peter and Tanya are so sharp and so astute, it makes for brilliant analysis and conversation.
They have a slightly different approach to story, but essentially meet somewhere in the middle; Character. With both advisors, we really stepped back from the script — taking a birds eye view of what the film really means to me and how and what the best way to achieve telling it would be moving forward. We talked a lot about character, world, and theme.
Tanya and Peter both offered many ideas for “problem solving” — helping me hone in on areas in the script that could be refined and strengthened. It’s evident in their own work how much they care about the craft — both offering truly thoughtful insight and perspective into how each scene could advance the story. We discussed ways to deepen characters and how to build a compelling and complex world without compromising my voice, or the story I want to tell.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I think the simplest answer is to just keep writing. There’s still a ton of information to digest from the lab but the key is to not get bogged down in semantics, to move beyond the fear and paralysis that we create for ourselves. It’s time to problem solve, lock myself in a room and just write. More coffee please.
Jessie Kahnweiler
Project: "Meet My Rapist"
Jessie Kahnweiler has been featured in The New York Times, CNN, TMZ, People, The Hollywood Reporter, New York Magazine, Mashable, Buzzfeed, Elle, The Daily Beast, Jezebel, Indiewire, La Weekly, The Huffington Post, and The Independent. At the University of Redlands, Kahnweiler quickly began ditching class in order to make documentaries. For her thesis film, Little America, she hitchhiked across the country to explore the world of America’s truck drivers. After getting dumped, she wrote and co-directed the comedic short "Baby Love," co-starring alongside "Anchorman’s" David Koechner. Kahnweiler was selected for the 6 Points Artist Fellowship which inspired her comedic web series entitled "Dude, Where’s my Chutzpah?" Her short "Meet my Rapist," a dark comedy about running into her rapist at the Farmers’ Market, inspired her live show "The Rape Girl." Kahnweiler confronted her own white privilege in her viral hit "Jessie Gets Arrested." Her latest project, for which she serves as writer, director, and stars, is "The Skinny," a dark comedic series based on her 10 year relationship with bulimia. It premiered at the 2016 Sundance Film Festival and is produced by Refinery29 and Jill Soloway’s Wifey.tv Kahnweiler lives in La with her plants.
Describe your project briefly and at what stage in the creative process it is.
Include details about your artistic vision for this project in particular. My project is called "Meet My Rapist" and it is loosely based on a short film I made of the same name a few years ago. After the short had it's 15 minutes online I was moving on to other projects but I felt this gnawing at my gut. I tried to ignore it, popped some advil, and went to yoga but that gnawing just wouldn't stop. That annoying painful gnawing was the beginnings of this script. I've been working on the script on and off for about a year. I'm at the stage where I need to take out most of the flippant jokes and get to the real meat of the matter - the heart, the pain. I need to live and cry this story out. Because the project is so personal it is easy for me to get lost in it. Sometimes I forget where I end and my characters begin. So being at the Sundance lab is great timing. I feel totes blessed.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
That I can't hide behind my jokes. After writing in a feeling state all day our amazing teaching Joan looked at me and was like "Your movie is a song and you gotta hit the bass notes." I was like Mic Drop. I love the challenge of making something that is a comedy based in the tragedy of human reality. That is my north star for this movie. I'm not sure if I will get there but that's where I'll be heading.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was incredible to take a deep dive into the script with women who so deeply understand screenwriting from the inside out. The feedback was never like "do it My way" it was more about ripping open the guts of the script and getting to that deeper level. Okay this happens but Why? Screenwriting can be so daunting like "I need write the perfect thing so I can get an agent so I can get hired etc. " and the process can be so lonely and daunting . But in both my sessions we just talked about human behavior and what makes people tick and it reminded me that filmmaking is magic and I'm really lucky to be here. Also a woman, it was inspiring to meet with other women who are living my dream. Who are feeling for a living. In both my sessions I laughed, cried, and go to ask as many questions I wanted it. It was basically my ideal Tinder date.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I'm going to keep working on drafts of the script, keep sharing it with people I trust, keep begging Sundance to let me come over and eat bagels, keep pitching it to anyone who will listen, keep crying, keep feeling, keep making my movie.
Allison Lee
Project: "Jawbone"
Born in Washington, D.C. and raised in Los Angeles, Allison Lee studied English Language and Literature at the University of Chicago. She received her Mfa in Film and Television Production from the University of Southern California’s School of Cinematic Arts. Upon graduation, she worked in development and production at DreamWorks and NBCUniversal. Lee has received grants from the Media Action Network and the Academy of Motion Pictures, Arts and Sciences. She was also named a Project Involve fellow, and her short The Grizzly was produced by Film Independent. In 2015, she was one of five screenwriters who received a residency through the inaugural Hedgebrook Screenwriters Lab, where she was mentored by Jenny Bicks and Jane Anderson.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Jawbone" is about a Korean woman who undergoes drastic plastic surgery as a means to achieve what she and her peers view as success. After she gives birth to a daughter who looks nothing like her, her life begins to unravel and she’s forced to confront her past.
I am currently grappling with rewrites while meeting with potential producers and crew.
I see "Jawbone" as a hybrid of Korean cinema and American independent film. Korean movies relish the tension in tightly wound familial and social relationships. I think my personal connection to this fabric helps me discern and explore where the similarities and differences to American culture begin and end. I also think the best American independent films underscore the universality of specific personal stories, and I aspire to follow in this tradition.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I felt transformed by the sessions with Joan Tewkesbury. She pushed us to bare our souls and delve into our histories to deliver stories that were truthful and specific. My biggest fear about "Jawbone" is that a few extreme events in the plot would read as absurdist melodrama. Relating these events back to some of my own crises helped me re-center the emotional truth of my characters and their journeys.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was crucial to work with filmmakers who knew the Sundance aesthetic and had weathered the challenges before us. I knew the script needed improvement but had a hazy vision of what it required. Tanya Hamilton’s notes were both encouraging and precise about galvanizing and concretizing the protagonist’s journey. Patricia Cardoso, with her directorial and producerial expertise, reminded me that my artistic flights of fancy should still be grounded in reality and be economical and pragmatic. The breadth of their approaches made me feel like I was getting the best of all worlds.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am hustling on a rewrite ready to be seen by producers and representatives. Ultimately, I want to direct "Jawbone," and I am also working on a short film version.
Eliza Lee
Project: "A Beautiful Lie"
Educated in Canada and the Czech Republic, Eliza Lee began in Asia as a Dp trainee before returning to her first passion: screenwriting. She takes great pride in world building for her complex women characters. Lee’s feature, Maybe Tomorrow, about rock legend Chrissie Hynde of The Pretenders, is being produced by Michelle Sy ("Finding Neverland") and Sophia Chang (former artist manager for Wu Tang Clan), with Academy Award nominee Steph Green ("Run & Jump") attached to direct. Lee’s screenplay, "A Beautiful Lie," about crime novelist Patricia Highsmith, was honored at the 2015 Athena Film Festival, and was also selected for the 2015 Outfest Screenwriting Lab. In addition, she was a Cape 2015 Film & Television Fellow and was mentored by various executives from Sony, Paramount, and Fox, among others. Lee has several features and television projects in development. She is the 2016 Sundance Institute Asian American Fellow.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
When Strangers on the Train was published in 1950 and with the anticipation for it to be turned into a film by Alfred Hitchcock, Patricia Highsmith was catapulted into the literary spotlight. Here she thought was her opportunity to break free of the crime genre and finally write her Great American novel. Except, it was at the height of McCarthy’s witch hunt, and her Great American novel would become the iconic lesbian tale, The Price of Salt. In the book, Patricia defiantly gave her lesbian main characters a happy ending together, but faced with the real threat of being blacklisted, she is forced to publish it under a pseudonym. This decision would send her down a path of alcoholism, promiscuity and loneliness as she realized she would not have the happy ending she wrote.
With this story, I knew it had to come from the seminal moment in her life. And for me, it is when she braved writing The Price of Salt at a time where being who you are and believing in what you do can land you in jail, exile or financial ruin. She had to deny her nature, and coupled with a growing rage it would breed the infamous “monster” that would come to define her in her later years.
While her male peers have enjoyed forgiving, pedestal descriptors like "troubled", "complex" or the genius "l'enfant terrible", Highsmith was shown no such generosity.
On top of that, I am struck how often pictures of her old age are published displaying her alcohol and anger ravaged face. We made that. Juxtapose those with photos of Highsmith at 21, so full of hope, vitality and ready for all the wonders of love, and it is clear - she was born this way. "A Beautiful Lie" is about a woman’s quest for love when it was a crime.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Specifically, I learned I hide behind fiction or through my characters and not have to admit the narrative comes from a personal place. Through an incredibly safe and nurturing environment on the first day, Joan Tewksbury led us through a series of spontaneous and revelatory writing exercises that at first seemed random, but without time to allow the self-censor to kick in, the writing showcased how many more complex layers we can apply to our characters through our uninhibited sharing of our personal experiences. As a result, because the stories come from us, they are inherently going to be personal. It was like sleight of hand for the imagination.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were there to help us tell the story we want to tell. And the one-on-one sessions were focused solely on the writing, and was intended to be a dialogue. It was humbling to learn the tremendous amount of time they took to burrow deep into our scripts. I was thoroughly empowered by what these writers offered me, and excited that I could challenge such seasoned pros with my perspective and approach to telling a story. Ligiah Villalobos dared me to linger longer in emotional scenes and to take my pursuit for emotional truths for my character even further. While Scott Neustadter and I discussed much about memories as structure, he also pushed me to defy a note i have received that my character is “unlikable” and to allow her to have even more anti-hero moments. i concluded my last day at the Intensive with their voices unifying in the same sentiment: they have a good feeling the film will be made.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Through the Sundance Intensive, I have a clear idea of what is my next step, and that is to apply another layer of shading to my portrait of Patricia Highsmith. I’m anxious to keep the momentum going, and then take it out to talent. I’m going to realize this film.
Jimmy Mosqueda
Project: "Valedictorian"
Jimmy Mosqueda is a lifelong California resident, the son of two Mexican migrant workers, and a graduate of Stanford University. From an early age he showed a fondness for writing, starting his first journal at the age of five, which developed into a passion for writing short stories, poetry and eventually screenplays. While attending Stanford on a full scholarship, Mosqueda saw how social class and race influenced the experiences of his fellow students, which made him realize just how much the American educational system is intimately tied to those pillars. The intersection of race, class, and education remains an ongoing theme in his works. Today, Mosqueda lives in Los Angeles and writes full-time. His screenplays have placed in numerous contests, including as a finalist in the Austin Film Festival, Script Pipeline and TrackingB competitions, and as a semifinalist in the Nicholl Fellowship. He’s represented by Angelina Chen and Brooklyn Weaver of Energy Entertainment, and is actively developing projects for film and television.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Valedictorian" is dark teen comedy in the vein of "Election" and "Heathers." It’s about an ambitious teenage girl who do anything to be crowned valedictorian of her high school, including a little bit of murder. So, you know, just like real high school! I started writing this project about three years ago. It was inspired by my own school experiences, where everyone on the Honors track was super competitive and had their sights set on the Ivy League. Readers respond positively to the comedy and the heightened world of the script, which is great, but one thing I felt got buried underneath the multitude of drafts is the emotional core of the main character. So during the Intensive my main goal was to rediscover who she was and, building out from that, the reason why I wanted to tell this story in the first place.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing I learned from the workshop with Joan Tewkesbury is that creative development is not about brainstorming characters or story points. All of us have unique, personal experiences and emotions that can form the building blocks of a story. You really have to look inward and tap that raw data, or else run the risk of your story ringing hollow. A lot of artists understand this intuitively, I believe, but Joan’s workshop laid it out in such clear and simple terms. For my next draft of "Valedictorian," I’m going to use these techniques as a stress test, but in all honesty I want to go back and revisit every project I ever worked on using this approach now.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
My advisors were the bee’s knees, if I can be so blunt. My first session was with Scott Neustadter, who along with his writing partner has written a lot of films with teen lead characters. He very clearly understood what the script was, and gave very specific, actionable notes on how to improve what’s already there. I love how he was able to cut through and really get at the core issues of script, which were mostly the same issues I had going in. Scott is killing the screenwriting game right now. His insights were invaluable.
My second session was with Kyle Patrick Alvarez. We spent a lot of time talking about the main character, her motivation, her relationships, and how she “earns” the big moments/twists in the script. We also spent some time talking bigger picture about the industry and how to build a career in Hollywood, which was very much appreciated. Additionally, it was great getting the perspective of another Latino in the industry.
Both men were truly gracious with their time. I left both sessions feeling inspired!
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
After stepping off Cloud 9, it’s back to the computer and working on a new draft of "Valedictorian." In addition, I will also be tackling a new draft of the pilot version. It’s the same world and characters, but with a different engine that is geared towards episodic narrative. Many of the notes I got from Scott and Kyle apply to the pilot version as well, so it’s like getting two for the price of one!
Finally, I just want to thank everyone involved with putting together the Intensive: Ilyse McKimmie, Michelle Satter, Anne Lai, Shira Rockowitz and everyone at the Sundance Institute who made this possible. I am forever grateful for the experience.
Lotfy Nathan
Project: Untitled Bouazizi Project
Lotfy Nathan’s first film, the documentary "12 O’Clock Boys," played over 50 film festivals worldwide, including SXSW, Sundance Next Fest, Lincoln Center, Viennale, Hot Docs, London, and Copenhagen in 2013. It was ranked 7 in the BFI list of top 20 documentaries of 2013, and garnered Nathan an HBO Emerging Artist award. "12 O’Clock Boys" was subsequently picked up by Oscilloscope for a North American release in theaters, acquired by Showtime for television, and was optioned for a fiction remake by Will Smith’s Overbrook Entertainment. Nathan is a 2015 grantee of the Creative Capital Foundation, a resident filmmaker at the Cinereach Foundation, and a previous awardee of the Garrett Scott development grant, the Peter Reed Foundation, the Grainger Marburg travel grant, and an Ifp fellowship.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
The film is about Mohamed Bouazizi, the young Tunisian fruit vendor whose act of self-immolation sparked the Arab spring. It’s a love story, apolitical (as the subject of our protagonist was); about a young man’s steady undoing, and his final bittersweet act of defiance. The film will be shot on location, with cast selected locally besides the principles, and filmed with an immersive approach.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
We were encouraged to draw from very specific personal experiences, prompted by Joan It was incredible to learn these tools, which enable you to tap into vast resources from your own life that you can then apply to the writing- and so vividly. I think the writing exercises with Joan actually stirred a very unusual dream for me that night.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were very motivating. I left with pages of notes on my writing, tangible pieces of smart advice that will help inform the next draft.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Before getting back to work on the script I plan to do some other writing on the characters.
- 3/28/2016
- by Carlos Aguilar
- Sydney's Buzz
A film that explores issues of equality for any one group, in any shape or form, always starts out along the right path. It’s just how it proceeds that matters – does it have the required impact to further the cause? That’s the initial question regarding Raising Victor Vargas director Peter Sollett’s new feature Freeheld,
The post Freeheld Review appeared first on HeyUGuys.
The post Freeheld Review appeared first on HeyUGuys.
- 2/18/2016
- by Lisa Giles-Keddie
- HeyUGuys.co.uk
The Sundance Institute is including a touch of Cannes this week as the likes of Pippa Bianco (her short Share was the 2015 winner of Cannes Cinefondation), Alistair Banks Griffin (Two Gates of Sleep premiered in Directors’ Fortnight in 2010), and the Fabio Grassadonia and Antonio Piazza tandem (from Critics’ Week Grand Prize in 2013 for Salvo) are among the dozen selected projects for the 2016 January Screenwriters Lab. The immersive, five-day writers’ workshop takes place just prior to the festival at the Sundance Resort in Utah, January 15-20. Look for several of these projects to one day break into not only Sundance, but other major film fests. Here are the selected people & projects:
The projects and fellows selected for the 2016 January Screenwriters Lab are:
Bull (U.S.A.) / Annie Silverstein (Co-writer/Director) and Johnny McAllister (Co-writer)
In a near-abandoned subdivision west of Houston, a wayward teen runs headlong into her equally willful and unforgiving neighbor,...
The projects and fellows selected for the 2016 January Screenwriters Lab are:
Bull (U.S.A.) / Annie Silverstein (Co-writer/Director) and Johnny McAllister (Co-writer)
In a near-abandoned subdivision west of Houston, a wayward teen runs headlong into her equally willful and unforgiving neighbor,...
- 1/11/2016
- by Eric Lavallee
- IONCINEMA.com
Wamg has your passes to the powerful drama Freeheld.
Based on the Oscar®-winning short documentary and adapted by the writer of Philadelphia, Freeheld is the true love story of Laurel Hester [Julianne Moore] and Stacie Andree [Ellen Page] and their fight for justice. A decorated New Jersey police detective, Laurel is diagnosed with cancer and wants to leave her hard-earned pension to her domestic partner, Stacie. However the county officials, Freeholders, prevent Laurel from doing this. Hard-nosed detective Dane Wells [Michael Shannon], and activist Steven Goldstein [Steve Carell] unite in Laurel and Stacie’s defense, rallying police officers and ordinary citizens to support their struggle for equality.
Directed by Peter Sollett (Nick And Nora’s Infinite Playlist, Raising Victor Vargas) and written by Ron Nyswaner (Philadelphia, Ray Donovan), with moving performances from a cast including Academy Award® winner Julianne Moore and Academy-Award nominees Ellen Page, Steve Carell, and Michael Shannon, with supporting performances from Luke Grimes and Josh Charles.
Based on the Oscar®-winning short documentary and adapted by the writer of Philadelphia, Freeheld is the true love story of Laurel Hester [Julianne Moore] and Stacie Andree [Ellen Page] and their fight for justice. A decorated New Jersey police detective, Laurel is diagnosed with cancer and wants to leave her hard-earned pension to her domestic partner, Stacie. However the county officials, Freeholders, prevent Laurel from doing this. Hard-nosed detective Dane Wells [Michael Shannon], and activist Steven Goldstein [Steve Carell] unite in Laurel and Stacie’s defense, rallying police officers and ordinary citizens to support their struggle for equality.
Directed by Peter Sollett (Nick And Nora’s Infinite Playlist, Raising Victor Vargas) and written by Ron Nyswaner (Philadelphia, Ray Donovan), with moving performances from a cast including Academy Award® winner Julianne Moore and Academy-Award nominees Ellen Page, Steve Carell, and Michael Shannon, with supporting performances from Luke Grimes and Josh Charles.
- 10/7/2015
- by Movie Geeks
- WeAreMovieGeeks.com
Toronto – Nothing is more disheartening than writing a negative review about a movie with admirable intentions. “Freeheld,” which debuted tonight at the 2015 Toronto International Film Festival, is based on the true story of Laurel Hester, an Ocean County, New Jersey police officer who fought to have her pension benefits assigned to her domestic partner Stacie in 2005. Unfortunately, an impressive cast and significant real-life events can’t trump the fact it’s a badly made movie. When we first meet Laurel (Julianne Moore) she’s in the middle of a stake out with her partner Dane Wells (Michael Shannon). Along with a few other officers they are trying to nail a drug dealer working the boardwalk. When things go wrong, Laurel shows up to save the day which is meant to telegraph the fact that she’s a damn good cop. It’s elementary script writing directed like an episode of...
- 9/14/2015
- by Gregory Ellwood
- Hitfix
The timing couldn’t be much better for “Freeheld.” Based on an Oscar-winning short, the film tells the true story of a detective (Julianne Moore) who fights to let her pension be awarded to her life partner (Ellen Page) when she’s diagnosed with terminal cancer. It’s arriving in the year when gay marriage was finally legalized in the U.S, a half year after Moore finally won her Oscar, and a year and a half after Page came out. Directed by Peter Sollett (“Raising Victor Vargas,” “Nick & Norah’s Infinite Playlist”), penned by “Philadelphia” writer Ron Nyswaner, and also starring Michael Shannon, Steve Carell, Josh Charles and Luke Grimes, the film’s about to premiere at the Toronto International Film Festival, and just debuted its first clip. Read More: Tiff Review: 'Still Alice' Starring Julianne Moore, Kristen Stewart, Alec Baldwin & Kate Bosworth The clip seems to...
- 9/10/2015
- by Oliver Lyttelton
- The Playlist
Ellen Page and Julianne Moore have, over the courses of their career, received critical acclaim for numerous dramatic performances, with Moore’s filmography including the likes of films such as Safe, Boogie Nights, Far From Heaven, and I’m Not There, among others, culminating in an Academy Award for Best Leading Actress for her role in 2014’s Still Alice. Page, meanwhile, has been seen in Whip It, Inception, and The East. The two performers, however, have yet to work together, a fact that is poised to change with their upcoming feature Freeheld. The film’s synopsis is below.
New Jersey police lieutenant, Laurel Hester, and her registered domestic partner, Stacie Andree, both battle to secure Hester’s pension benefits when she is diagnosed with terminal cancer.
The film, which is based on the story of a real-life couple, sees Moore and Page play the two leads, directed by Raising Victor Vargas‘ Peter Sollett.
New Jersey police lieutenant, Laurel Hester, and her registered domestic partner, Stacie Andree, both battle to secure Hester’s pension benefits when she is diagnosed with terminal cancer.
The film, which is based on the story of a real-life couple, sees Moore and Page play the two leads, directed by Raising Victor Vargas‘ Peter Sollett.
- 7/23/2015
- by Deepayan Sengupta
- SoundOnSight
The true story told in "Freeheld" is one that Ellen Page has been passionate to share for years. Attached to star in the movie since 2010, the movie is based on the Oscar-winning short documentary by Cynthia Wade about Stace Andree, a woman who was denied the pension benefits of her longtime female partner, New Jersey police detective Laurel Hester, when the latter became terminally ill. Together they mounted a legal battle for Stace's benefits to be assigned to her partner. “I remember just seeing the trailer for the documentary and I was instantly brought to tears,” Page, who is also a producer on the film, told EW. “Tremendous love stories between women have been made, of course. Some of them are my favorite movies. But to have a love story that brings up the civil rights issue, in relation to women—that we haven’t seen enough in the forefront.
- 7/22/2015
- by Kevin Jagernauth
- The Playlist
We're less than two weeks away from the start of the Stanley Film Festival and it's been officially announced that Tom Quinn will be the recipient of their Visionary Award. We also have details on the festival's panels and jurors:
April 20, 2014 (Denver, Co) - The Stanley Film Festival (Sff) produced by the Denver Film Society (Dfs) and presented by Chiller, announced today it will honor Tom Quinn, co-president of RADiUS-twc as its 2015 Visionary Award Winner. Quinn is behind this year’s breakout horror title It Follows as well as other genre heavy hitters such as Snowpiercer, Blue Ruin and Only God Forgives. The Visionary award is given to a figure in contemporary horror who is making forward-thinking contributions that elevate the genre and provides a platform for new, innovative artists to create work. Previous recipients include Daniel Noah, Josh C. Waller and Elijah Wood, co-founders of SpectreVision (2014) and Eli Roth (2013). Quinn,...
April 20, 2014 (Denver, Co) - The Stanley Film Festival (Sff) produced by the Denver Film Society (Dfs) and presented by Chiller, announced today it will honor Tom Quinn, co-president of RADiUS-twc as its 2015 Visionary Award Winner. Quinn is behind this year’s breakout horror title It Follows as well as other genre heavy hitters such as Snowpiercer, Blue Ruin and Only God Forgives. The Visionary award is given to a figure in contemporary horror who is making forward-thinking contributions that elevate the genre and provides a platform for new, innovative artists to create work. Previous recipients include Daniel Noah, Josh C. Waller and Elijah Wood, co-founders of SpectreVision (2014) and Eli Roth (2013). Quinn,...
- 4/20/2015
- by Jonathan James
- DailyDead
Julianne Moore The "Still Alice" winner, hot off her awards season clean sweep for playing a linguistics professor with early-onset Alzheimer's, has wrapped Peter Sollett's ("Raising Victor Vargas") bio-drama "Freeheld." She plays real-life, trailblazing New Jersey copy Laurel Hester who, before dying in 2006, fought for pension benefits for domestic partners. Best Actor nominee Steve Carell costars. On November 20, she will reprise her "Hunger Games" role as sangfroid District 13 President Alma Coin in "Mockingjay - Part 2." Heading into pre-production is novelist and filmmaker Rebecca Miller's ("The Private Lives of Pippa Lee") Manhattan romantic comedy of manners "Maggie's Plan" opposite Greta Gerwig and Clive Owen, and Best Supporting Actor nominee Ethan Hawke. Eddie Redmayne The chuffed Best Actor winner for "The Theory of Everything" can currently be seen in the Wachowski-directed sci-fi bomb...
- 2/24/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Sundance Institute and The Royal Film Commission - Jordan announced the six projects selected for the 10th anniversary of the Rawi Screenwriters Lab, which took place October 28 to November 1 in Amman, Jordan. Created as a cornerstone of the Institute’s deep commitment to artists in the Middle East, the Lab has supported over seventy artists from more than a dozen countries.
The two first features produced from the inaugural 2005 Lab premiered at the Sundance Film Festival: "Pomegranates and Myrrh," written and directed by Najwa Najjar (Palestine) and "Amreeka," written and directed by Cherien Dabis (Palestine/Jordan/Us). Notable alums of the Lab also include Mohammed Al Daradji ( "Son of Babylon" ) and Sally El Hosaini ( "My Brother The Devil" ).
More recently, 2009 Rawi alumna Haifaa Al Mansour (Saudi Arabia) premiered her first feature "Wadjda" at the 2012 Venice Film Festival. It was soon acquired by Sony Pictures Classics and was distributed to critical and audience acclaim from around the world. "Wadjda" is the first feature film shot entirely in the Kingdom of Saudi Arabia and the first ever by a Saudi female filmmaker.
The 10 th anniversary events in Amman included a panel on the craft of screenwriting led by Al Mansour, a public screening of "Zindeeq"by Lab Advisor Michel Khleifi, and a reception designed to connect local artists with filmmakers from across the region. Keri Putnam, Executive Director of Sundance Institute, said, “Stories told by independent artists, whether working in the U.S. or internationally, provide remarkable windows into other cultures, and deepen understanding. Ten years into our work in the Middle East, we look forward to continuing to give voice to artists in the region.”
Michelle Satter, Founding Director of the Feature Film Program, said, “We deeply value our collaboration with the Royal Film Commission as well as the artists we have supported in the Middle East over the past 10 years. The films that have emerged from the Lab have reflected upon many of the region’s important cultural and political moments over the past decade. I am proud to see the work of these artists enriching the broader culture with unique and impactful stories."
George David, General Manager of the Royal Film Commission, said,“We are proud of what this Lab has accomplished over the past ten years. It is safe to say that Rawi, with the support of the Sundance Institute has become a recognized contributor to the development of Arab feature films. Cinematic works, which were born in Rawi, have been featured in major films festivals and released in cinema screens globally, exposing our Arab culture and heritage to the world.”
Modeled on the Institute’s renowned Us-based Screenwriters Labs, the Rawi Screenwriters Lab provides an opportunity for filmmakers from the Middle East region to develop their work under the guidance of accomplished screenwriters in an environment that encourages storytelling at its highest level. The Lab is led by the Royal Film Commission of Jordan and managed by Deema Azar, in consultation with Sundance Institute’s Feature Film Program, under the direction of Founding Director Michelle Satter and International Director Paul Federbush.
The Creative Advisors this year included Pavel Jech (This Is Not An American Movie"), Rawi Screenwriting Lab alum Najwa Najjar ("Eyes Of A Thief" , "Pomegranates And Myrrh" ), Hanna Weg ( "Kahlil Gibran’s The Prophet" ), Jon Raymond ( "Night Moves," "Wendy and Lucy" ), and Michel Khleifi ( "Zindeeq" ).
The six artists selected for the 2014 Rawi Screenwriters Lab include:
Shake
Writer and Director: Deema Dabis (Jordan)
Free-spirited Kareemah decides to leave her home in Los Angeles to pursue her lifelong dream when she accepts an offer to tour Palestine with an international circus troop. As she struggles to manage her insecurities as a first-time performer, she is continuously shaken up by the complexities of life in Palestine.
Dabis received an Mfa in Cinema from the Red Sea Institute of Cinematic Arts. From a young age she has always been in love with stories and believes fiercely that the power of creation and a new vision will not only bring healing and insight into our world but also has the potential to create alternative narratives and realities. She is working on a number of projects including her first short film The Sri Lankan , which received funding from the Jordan Film Fund.
Baghdad Perfume
Writer and Director: Roua Ahmad (Iraq)
The tale of a middle-class family and their struggles during the darkest period in Iraq between 2004 and 2006. As the occupation becomes more oppressive and water and electricity begin to run out, the family of three tries to stay together through kidnapping, illness, and the increasing danger of staying in Baghdad.
Ahmad was born on 1983 in Iraq. She received a certificate of participation from USC School of Cinematic Art and a Bachelor's degree in Computer Programming. She later got her Mfa in Directing and Editing from The Red Sea Institute of Cinematic Arts. Filmmaking has been her ambition since the age of 12. After graduation she worked as an editor and screenwriter for a television production company. Her short films include The Last Hour , and have been screened and nominated for awards in 12 film festivals around the world.
Killer of the Selawa
Writer and Director: Islam Azzazi (Egypt)
Co-Writer: Charles Akl (Egypt)
In the tense atmosphere following the revolution in Egypt, a man spends the night in a remote villa on the outskirts of Alexandria, trying to obtain a permit for his father’s weapons. After news spreads of a vicious, mythical beast in the area, the man finds himself caught up in a murderous accident.
Since his Dostoyevski inspired thesis project, Al-Kharaz (Beads) , Azzazi has directed and produced numerous Documentaries and short films. His documentaries include Wujouh Al-Fayoum (Fayoum Portraits) and Dominate Your Eyes. He has also produced and directed the short film Nahar we Leil (Day & Night), 2006. Azzazi has worked at El-Warsha Theatre Company where he coached actors and photographed theatrical productions. In 2007 he established a new production company Wika with three other filmmakers.
Charles Akl works as a writer, director, editor, art critic and photographer. After graduating from the University of Alexandria’s Faculty of Fine Arts in 2006, he has worked in several domains ranging from architecture design to writing and editing for several arts publications, including Magaz. Akl has also worked as the program coordinator at Al Mawred Al Thaqafy.
Tide
Writer and Director: Hussen Ibraheem (Lebanon)
A man and woman struggle in the aftermath of their son’s death. As the tide approaches their coastal home and they make their way by car to a relative’s house in the mountains, they must confront the tension the tragedy has created between them.
Ibraheem is an independent filmmaker, born in Beirut, Lebanon. After getting his BA in Architecture, Ibraheem followed his love for animation working as a freelance storyboard artist and character designer. Ibraheem was granted a scholarship from The Red Sea Institute of Cinematic Arts where he studied directing and cinematography. His second short film produced at Rsica, Typo, is currently touring 13 film festivals in Poland, Bulgaria, Hungary, Greece, USA, UK, and Italy.
The Golden Cap Club
Writer and Director: Merva Faddoul (Lebanon)
A young girl comes of age as the organized world of the adults crumbles during the invasion of Kuwait in the early 1990s. Determined to win a trip to Disneyland, she collects bottle caps in an attempt to find the ‘golden cap,’ as her family tries to distract her from the sudden challenges they face.
Faddoul is an award-winning writer and director. She recieved an Mfa in Film Production from the University of Southern California and a BA in Communications from the Lebanese American University. Her short films have won grants from National Geographic and the Doha Film Institute and they have screened at dozens of festivals worldwide including the Cannes Short Film Corner, Human Rights Nights (Italy), Doha-Tribeca Film Festival, and Tricycle Cinema in London. She is a member of the Writers Guild of America and the International Academy of WebTV.
Snow
Writer and Director: Omaima Hamouri (Palestine)
Eight year-old Dina believes that an old family curse is behind the conflict that arises each summer between her parents, and becomes convinced that snow is the only way to solve their problems. With the help of her grandmother, she resolves to delay her parents’ divorce until the first snowfall.
Hamouri was born in 1988 in Jerusalem. She received her bachelor degree in Mass Media from Al-Quds University, followed by an Mfa in Editing and Screenwriting from the Red Sea Institute of Cinematic Arts in Jordan. With a never-ending passion for telling human stories through film, Omaima is now working as an independent filmmaker.
The Sundance Institute Feature Film Program is supported by The Annenberg Foundation, Alfred P. Sloan Foundation, Rt Features, Time Warner Foundation, The Lincoln Motor Company, Red Crown Productions, the John S. and James L. Knight Foundation, Hp, Steve Bing, Jeanne Donovan Fisher, Hollywood Foreign Press Association, Microsoft, The Rockefeller Foundation, Nhk Enterprises, Inc., National Endowment for the Arts, 3311 Productions, The Ammon Foundation, Firestone / von Winterfeldt Family Fund, Ford Foundation, Philip Fung-A3 Foundation, SAGIndie, Grazka Taylor, The Academy of Motion Picture Arts and Sciences, and The Ray and Dagmar Dolby Family Fund.
Sundance Institute Feature Film Program
Since its founding in 1981, the Sundance Institute Feature Film Program (Ffp) has supported an extensive list of ground-breaking independent films. Ffp films making their premieres this year include Damien Chazelle’s Whiplash (winner of the Grand Jury Prize and Audience Award at the 2014 Sundance Film Festival), Cutter Hodierne’s Fishing Without Nets (winner of the Directing Prize at the 2014 Sundance Film Festival), and Malik Vitthal’s Imperial Dreams (winner of the Best of Next Audience Award at the 2014 Sundance Film Festival). Additional notable films supported over the program’s history include Ryan Coogler’s Fruitvale Station , Ritesh Batra’s The Lunchbox , Haifaa Al Mansour’s Wadjda , Lucy Alibar and Benh Zeitlin’s Beasts of the Southern Wild , Sean Durkin’s Martha Marcy May Marlene , Dee Rees’ Pariah , Cary Fukunaga's Sin Nombre , Andrea Arnold's Red Road , Miranda July’s Me and You and Everyone We Know , Hany Abu-Assad’s Paradise Now , Josh Marston’s Maria Full of Grace , Peter Sollett’s Raising Victor Vargas , John Cameron Mitchell’s Hedwig and the Angry Inch , Darren Aronofsky’s Requiem for a Dream , Kimberly Peirce’s Boys Don't Cry , Walter Salles’ Central Station , Chris Eyre and Sherman Alexie’s Smoke Signals , Allison Anders' Mi Vida Loca , Paul Thomas Anderson’s Hard Eight , and Quentin Tarantino’s Reservoir Dogs .
undance.org/featurefilm
Sundance Institute Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to connect audiences to their work. The Institute promotes independent storytelling as art and as a compelling and powerful way to inform, inspire and unite people. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman's Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook , Instagram,Twitter and YouTube.
The two first features produced from the inaugural 2005 Lab premiered at the Sundance Film Festival: "Pomegranates and Myrrh," written and directed by Najwa Najjar (Palestine) and "Amreeka," written and directed by Cherien Dabis (Palestine/Jordan/Us). Notable alums of the Lab also include Mohammed Al Daradji ( "Son of Babylon" ) and Sally El Hosaini ( "My Brother The Devil" ).
More recently, 2009 Rawi alumna Haifaa Al Mansour (Saudi Arabia) premiered her first feature "Wadjda" at the 2012 Venice Film Festival. It was soon acquired by Sony Pictures Classics and was distributed to critical and audience acclaim from around the world. "Wadjda" is the first feature film shot entirely in the Kingdom of Saudi Arabia and the first ever by a Saudi female filmmaker.
The 10 th anniversary events in Amman included a panel on the craft of screenwriting led by Al Mansour, a public screening of "Zindeeq"by Lab Advisor Michel Khleifi, and a reception designed to connect local artists with filmmakers from across the region. Keri Putnam, Executive Director of Sundance Institute, said, “Stories told by independent artists, whether working in the U.S. or internationally, provide remarkable windows into other cultures, and deepen understanding. Ten years into our work in the Middle East, we look forward to continuing to give voice to artists in the region.”
Michelle Satter, Founding Director of the Feature Film Program, said, “We deeply value our collaboration with the Royal Film Commission as well as the artists we have supported in the Middle East over the past 10 years. The films that have emerged from the Lab have reflected upon many of the region’s important cultural and political moments over the past decade. I am proud to see the work of these artists enriching the broader culture with unique and impactful stories."
George David, General Manager of the Royal Film Commission, said,“We are proud of what this Lab has accomplished over the past ten years. It is safe to say that Rawi, with the support of the Sundance Institute has become a recognized contributor to the development of Arab feature films. Cinematic works, which were born in Rawi, have been featured in major films festivals and released in cinema screens globally, exposing our Arab culture and heritage to the world.”
Modeled on the Institute’s renowned Us-based Screenwriters Labs, the Rawi Screenwriters Lab provides an opportunity for filmmakers from the Middle East region to develop their work under the guidance of accomplished screenwriters in an environment that encourages storytelling at its highest level. The Lab is led by the Royal Film Commission of Jordan and managed by Deema Azar, in consultation with Sundance Institute’s Feature Film Program, under the direction of Founding Director Michelle Satter and International Director Paul Federbush.
The Creative Advisors this year included Pavel Jech (This Is Not An American Movie"), Rawi Screenwriting Lab alum Najwa Najjar ("Eyes Of A Thief" , "Pomegranates And Myrrh" ), Hanna Weg ( "Kahlil Gibran’s The Prophet" ), Jon Raymond ( "Night Moves," "Wendy and Lucy" ), and Michel Khleifi ( "Zindeeq" ).
The six artists selected for the 2014 Rawi Screenwriters Lab include:
Shake
Writer and Director: Deema Dabis (Jordan)
Free-spirited Kareemah decides to leave her home in Los Angeles to pursue her lifelong dream when she accepts an offer to tour Palestine with an international circus troop. As she struggles to manage her insecurities as a first-time performer, she is continuously shaken up by the complexities of life in Palestine.
Dabis received an Mfa in Cinema from the Red Sea Institute of Cinematic Arts. From a young age she has always been in love with stories and believes fiercely that the power of creation and a new vision will not only bring healing and insight into our world but also has the potential to create alternative narratives and realities. She is working on a number of projects including her first short film The Sri Lankan , which received funding from the Jordan Film Fund.
Baghdad Perfume
Writer and Director: Roua Ahmad (Iraq)
The tale of a middle-class family and their struggles during the darkest period in Iraq between 2004 and 2006. As the occupation becomes more oppressive and water and electricity begin to run out, the family of three tries to stay together through kidnapping, illness, and the increasing danger of staying in Baghdad.
Ahmad was born on 1983 in Iraq. She received a certificate of participation from USC School of Cinematic Art and a Bachelor's degree in Computer Programming. She later got her Mfa in Directing and Editing from The Red Sea Institute of Cinematic Arts. Filmmaking has been her ambition since the age of 12. After graduation she worked as an editor and screenwriter for a television production company. Her short films include The Last Hour , and have been screened and nominated for awards in 12 film festivals around the world.
Killer of the Selawa
Writer and Director: Islam Azzazi (Egypt)
Co-Writer: Charles Akl (Egypt)
In the tense atmosphere following the revolution in Egypt, a man spends the night in a remote villa on the outskirts of Alexandria, trying to obtain a permit for his father’s weapons. After news spreads of a vicious, mythical beast in the area, the man finds himself caught up in a murderous accident.
Since his Dostoyevski inspired thesis project, Al-Kharaz (Beads) , Azzazi has directed and produced numerous Documentaries and short films. His documentaries include Wujouh Al-Fayoum (Fayoum Portraits) and Dominate Your Eyes. He has also produced and directed the short film Nahar we Leil (Day & Night), 2006. Azzazi has worked at El-Warsha Theatre Company where he coached actors and photographed theatrical productions. In 2007 he established a new production company Wika with three other filmmakers.
Charles Akl works as a writer, director, editor, art critic and photographer. After graduating from the University of Alexandria’s Faculty of Fine Arts in 2006, he has worked in several domains ranging from architecture design to writing and editing for several arts publications, including Magaz. Akl has also worked as the program coordinator at Al Mawred Al Thaqafy.
Tide
Writer and Director: Hussen Ibraheem (Lebanon)
A man and woman struggle in the aftermath of their son’s death. As the tide approaches their coastal home and they make their way by car to a relative’s house in the mountains, they must confront the tension the tragedy has created between them.
Ibraheem is an independent filmmaker, born in Beirut, Lebanon. After getting his BA in Architecture, Ibraheem followed his love for animation working as a freelance storyboard artist and character designer. Ibraheem was granted a scholarship from The Red Sea Institute of Cinematic Arts where he studied directing and cinematography. His second short film produced at Rsica, Typo, is currently touring 13 film festivals in Poland, Bulgaria, Hungary, Greece, USA, UK, and Italy.
The Golden Cap Club
Writer and Director: Merva Faddoul (Lebanon)
A young girl comes of age as the organized world of the adults crumbles during the invasion of Kuwait in the early 1990s. Determined to win a trip to Disneyland, she collects bottle caps in an attempt to find the ‘golden cap,’ as her family tries to distract her from the sudden challenges they face.
Faddoul is an award-winning writer and director. She recieved an Mfa in Film Production from the University of Southern California and a BA in Communications from the Lebanese American University. Her short films have won grants from National Geographic and the Doha Film Institute and they have screened at dozens of festivals worldwide including the Cannes Short Film Corner, Human Rights Nights (Italy), Doha-Tribeca Film Festival, and Tricycle Cinema in London. She is a member of the Writers Guild of America and the International Academy of WebTV.
Snow
Writer and Director: Omaima Hamouri (Palestine)
Eight year-old Dina believes that an old family curse is behind the conflict that arises each summer between her parents, and becomes convinced that snow is the only way to solve their problems. With the help of her grandmother, she resolves to delay her parents’ divorce until the first snowfall.
Hamouri was born in 1988 in Jerusalem. She received her bachelor degree in Mass Media from Al-Quds University, followed by an Mfa in Editing and Screenwriting from the Red Sea Institute of Cinematic Arts in Jordan. With a never-ending passion for telling human stories through film, Omaima is now working as an independent filmmaker.
The Sundance Institute Feature Film Program is supported by The Annenberg Foundation, Alfred P. Sloan Foundation, Rt Features, Time Warner Foundation, The Lincoln Motor Company, Red Crown Productions, the John S. and James L. Knight Foundation, Hp, Steve Bing, Jeanne Donovan Fisher, Hollywood Foreign Press Association, Microsoft, The Rockefeller Foundation, Nhk Enterprises, Inc., National Endowment for the Arts, 3311 Productions, The Ammon Foundation, Firestone / von Winterfeldt Family Fund, Ford Foundation, Philip Fung-A3 Foundation, SAGIndie, Grazka Taylor, The Academy of Motion Picture Arts and Sciences, and The Ray and Dagmar Dolby Family Fund.
Sundance Institute Feature Film Program
Since its founding in 1981, the Sundance Institute Feature Film Program (Ffp) has supported an extensive list of ground-breaking independent films. Ffp films making their premieres this year include Damien Chazelle’s Whiplash (winner of the Grand Jury Prize and Audience Award at the 2014 Sundance Film Festival), Cutter Hodierne’s Fishing Without Nets (winner of the Directing Prize at the 2014 Sundance Film Festival), and Malik Vitthal’s Imperial Dreams (winner of the Best of Next Audience Award at the 2014 Sundance Film Festival). Additional notable films supported over the program’s history include Ryan Coogler’s Fruitvale Station , Ritesh Batra’s The Lunchbox , Haifaa Al Mansour’s Wadjda , Lucy Alibar and Benh Zeitlin’s Beasts of the Southern Wild , Sean Durkin’s Martha Marcy May Marlene , Dee Rees’ Pariah , Cary Fukunaga's Sin Nombre , Andrea Arnold's Red Road , Miranda July’s Me and You and Everyone We Know , Hany Abu-Assad’s Paradise Now , Josh Marston’s Maria Full of Grace , Peter Sollett’s Raising Victor Vargas , John Cameron Mitchell’s Hedwig and the Angry Inch , Darren Aronofsky’s Requiem for a Dream , Kimberly Peirce’s Boys Don't Cry , Walter Salles’ Central Station , Chris Eyre and Sherman Alexie’s Smoke Signals , Allison Anders' Mi Vida Loca , Paul Thomas Anderson’s Hard Eight , and Quentin Tarantino’s Reservoir Dogs .
undance.org/featurefilm
Sundance Institute Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to connect audiences to their work. The Institute promotes independent storytelling as art and as a compelling and powerful way to inform, inspire and unite people. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman's Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook , Instagram,Twitter and YouTube.
- 11/10/2014
- by Sydney Levine
- Sydney's Buzz
After getting our first look at the adaptation of Dave Eggers' novel A Hologram for the King starring Tom Hanks, another film based on the author's work is on the way. A press release from International Film Trust has announced from Cannes that Harry Potter franchise star Daniel Radcliffe is continuing his interesting career following the international blockbuster sensation with an adaptation of Eggers' first novel You Shall Know Our Velocity from 2002. And directing is Peter Sollett, who previously brought book Nick and Norah's Infinite Playlist to the big screen and found indie success with Raising Victor Vargas. For those who might not be familiar with the book, Eggers' debut tale follows two mismatched friends, Will (Radcliffe), bookish and lovingly awkward, and Hand (yet to be cast), bold and a self-proclaimed ladies’ man, who set out on a two week trip, equipped with round-the-world plane tickets and a $32,000 insurance...
- 5/20/2014
- by Ethan Anderton
- firstshowing.net
Daniel Radcliffe is having a go at a Dave Eggers' adaptation, "You Shall Know Our Velocity." Radcliffe will star as the the bookish Will, opposite a yet uncast co-lead to play Will's more gregarious and skirt-chasing buddy Hand, who embark on worldwide excursion to give the $32,000 insurance fallout from their friend's death to those in dire need. Peter Sollett ("Nick and Nora's Infinite Playlist," "Raising Victor Vargas") is at the helm, with production eyeing a start next spring. Wells Tower penned the adaptation. The film marks Radcliffe's sixth since he wrapped his decade-long, adolescence-spanning "Harry Potter" franchise: 2012's horror hit "The Woman in Black": Beat generation mystery drama "Kill Your Darlings"; "What If," an indie rom-com opposite Zoe Kazan originally titled "The F Word"; "Horns," where Radcliffe plays a man who sprouts horns in the aftermath of his girlfriend's death; and "Frankenstein," where Radcliffe plays the bumbling Igor...
- 5/19/2014
- by Beth Hanna
- Thompson on Hollywood
Victor Rasuk has come a long way since starring in the lead role of Peter Sollett’s 2002 festival sensation, Raising Victor Vargas, and is now set to become a very familiar face indeed as he signs on for Kevin Williamson’s new, as-yet-untitled psychological thriller.
Wending its way to the small screen through Williamson’s Outerbanks Entertainment and Warner Bros TV, this new, dark thriller focuses on a newcomer to the Threat Assessment Unit of the Lapd, which deals with stalking incidents. With Dylan McDermott in the lead role as Jack Larsen, supported by Maggie Q (Divergent) and Mariana Klaveno (True Blood), Victor Rasuk will play Ben – a loyal, but morally shady detective with the unit. The show is being developed for CBS.
Though he was first best known as creator of gentle teen drama Dawson’s Creek, Williamson soon displayed his darker side with the Scream and I Know What You Did Last Summer...
Wending its way to the small screen through Williamson’s Outerbanks Entertainment and Warner Bros TV, this new, dark thriller focuses on a newcomer to the Threat Assessment Unit of the Lapd, which deals with stalking incidents. With Dylan McDermott in the lead role as Jack Larsen, supported by Maggie Q (Divergent) and Mariana Klaveno (True Blood), Victor Rasuk will play Ben – a loyal, but morally shady detective with the unit. The show is being developed for CBS.
Though he was first best known as creator of gentle teen drama Dawson’s Creek, Williamson soon displayed his darker side with the Scream and I Know What You Did Last Summer...
- 3/21/2014
- by Sarah Myles
- We Got This Covered
Fifty Shades of Grey star Victor Rasuk has been cast as a series regular in the untitled Kevin Williamson stalker/crime drama pilot for CBS.
Rasuk will play Ben, described as a loyal but not entirely trustworthy detective with the Threat Assessment Unit, who “tries too hard with the ladies — but not hard enough with everyone else.” The one-hour untitled project is dubbed a psychological thriller centered on detectives in the Threat Assessment Unit of the Lapd, a.k.a. the Stalkers Unit.
Rasuk joins previously announced castmembers Maggie Q (Nikita), Dylan McDermott (Hostages), and Mariana Klaveno (Devious Maids).
He...
Rasuk will play Ben, described as a loyal but not entirely trustworthy detective with the Threat Assessment Unit, who “tries too hard with the ladies — but not hard enough with everyone else.” The one-hour untitled project is dubbed a psychological thriller centered on detectives in the Threat Assessment Unit of the Lapd, a.k.a. the Stalkers Unit.
Rasuk joins previously announced castmembers Maggie Q (Nikita), Dylan McDermott (Hostages), and Mariana Klaveno (Devious Maids).
He...
- 3/20/2014
- by Stephanie Robbins
- EW - Inside TV
Shaun Evans (Endeavour) is set as a male lead in Amazon comedy pilot Cosmopolitan, from The Last Days Of Disco filmmaker Whit Stillman. Cosmopolitan, which Stillman wrote and will direct and executive produce, chronicles the loves and adventures of a group of young expatriates in Paris. Evans will play Hal, a divorced, good-looking but somber young man who’s struggling with his most recent heartache in the company of his two best friends, fellow American Jimmy and European Woddy, who’s less than sympathetic. The friend roles have yet to be cast. Evans, repped by Don Buchwald & Associates and Hamilton Hodell in the UK, next will be seen in upcoming feature War Book. Related: 2014 Amazon Studios Pilots Victor Rasuk (Raising Victor Vargas) has been cast as a series regular in CBS‘ untitled Kevin Williamson drama pilot, from Warner Bros TV. Written by Williamson and directed by Liz Friedlander, the psychological thriller revolves around two detectives,...
- 3/20/2014
- by THE DEADLINE TEAM
- Deadline TV
After being attached to the project for nearly four years, it looks like things are finally moving ahead with the Ellen Page-led Freeheld. Julianne Moore and Zach Galifianakis have joined the independent drama. which is coming from Peter Sollett (Raising Victor Vargas, Nick & Norah’s Infinite Playlist) and a script by Ron Nyswaner (Philadelphia, The Painted Veil). Based on the 20007 documentary, it tells the [...]...
- 2/17/2014
- by Jordan Raup
- The Film Stage
• Zach Galifianakis (The Hangover) will take on a supporting role in the indie drama Freeheld, starring Ellen Page (Juno) and Julianne Moore (Far From Heaven) as domestic partners battling New Jersey pension laws. Based on Cynthia Wade’s Oscar-winning documentary short, Moore will star as Laurel Hester, a detective who becomes terminally ill. Page would play her partner Stacie Andree, and Galifianakis is set to portray equality activist Steven Goldstein. Philadelphia scribe Ron Nyswaner wrote the script, and Peter Sollett (Raising Victor Vargas) will direct. [THR]
• Odeya Rush (The Odd Life of Timothy Green) has scored the role of Jack Black’s niece in Goosebumps,...
• Odeya Rush (The Odd Life of Timothy Green) has scored the role of Jack Black’s niece in Goosebumps,...
- 2/14/2014
- by Lindsey Bahr
- EW - Inside Movies
You're forgiven if you've long since forgotten that Ellen Page was trying to get a feature version of the Oscar winning documentary short Freeheld (2007) off the ground. She first tried in 2008, shortly after her rise to fame with Juno (2007). The film, based on a true story, is about a lesbian couple, the young Stacie (Page) and her older police detective partner Laurel Hester (Moore) who receive devastating news: Laurel is terminally ill and the government won't let her assign her pension benefits to Stacie. At the time this was first announced it looked like a great Oscar project for Page but nothing ever came of. The good news: It's back on!
But the news gets even better...
Julianne Moore is on board to play Laurel so maybe she's finally got her Oscar role. Not that Oscar is the most important thing here. The important thing is tell good stories about...
But the news gets even better...
Julianne Moore is on board to play Laurel so maybe she's finally got her Oscar role. Not that Oscar is the most important thing here. The important thing is tell good stories about...
- 2/13/2014
- by NATHANIEL R
- FilmExperience
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