August 2018
FLIX PREMIERE Close-Up
this month’s UPCOMING PREMIERES
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TABLE OF CONTENTS
Welcome Readers: The purpose of this magazine is to share with our movie-goers, the industry and our partners updates about what is happening at Flix Premiere each month. We aim to highlight and explore the upcoming month’s film premieres in each market, and occasionally announce new developments on our platform. Happy reading!
IN THIS ISSUE:
B FF s
Her e Lie s
August Premieres Snapshot Learn about our exclusive new premieres showing each week.
The Paper Store
US August Premieres Snapshot - pg. 3 UK August Premieres Snapshot - pg. 4
Close Up: Premieres Feature Reviews A chance to immerse yourself in the wonderful stories premiering each week.
Fi re w or ke
rs
Forgotten Man - Obi Abili, Eleanor McLoughlin, Toby Wharton, Errol McGlashan, Jerry Hall - pg. 5 All the Birds Have Flown South - Paul Sparks, Joey Lauren Adams, Dallas Roberts - pg. 6 Six Rounds - Phoebe Torrance, Adam J. Bernard, Daniel Johns, Karishma Bhandari - pg. 7 BFFs - Tara Karsian, Andrea Grano, Sigrid Thornton, Patrick O'Connor, Jenny O'Hara, Larisa Oleynik - pg. 8 Here Lies - Daniel O’Meara, Maria Papas, Christian McKay, Lyne Renee - pg. 9 The Cursed Ones - Oris Erhuero, Ama K Abebrese, Jimmy Jean Louis, Fred Amugi, David Dontoh, Ophelia Dzidzornu - pg. 10 The Orchard - Matt Angel, Morgan Taylor Campbell, John Cassini, Sean MacLean, Chris McNalli, Brandi Alexander - pg. 11 The Paper Store - Stef Dawson, Penn Badgley, Richard Kind - pg. 12 Fireworkers - Christina Bennett Lind, Gene Gallerano, Heather Lind, Jeff Barry, Drew Denny, Michael Izquierdo - pg. 13
HOME OF AWARD-WINNING CINEMA AND MORE
“ It’s a darkly funny yet sometimes difficult film that takes a most extreme case of misogyny to task, painting a bleak picture for women. ”
US PREMIERE August 17, 2018 - 7pm EST A film about film-making and the struggles involved in the creative process: artistic, technical, financial and personal.
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Amazon Fire
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“ Moments of unified grief and fond remembrance punctate the action of the film, which crescendos into a sparkling finale.”
Smart TVs
US PREMIERE August 31, 2018 - 7pm EST
A friend’s untimely death sends six 30-somethings on a journey to confront her incomplete bucket list, to seek closure.
www.flixpremiere.com
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US PREMIERES SNAPSHOT
Starring: Obi Abili, Eleanor McLoughlin, Toby Wharton, Errol McGlashan, Jerry Hall
august 3, 2018 - 7pm EST
Starring: Phoebe Torrance, Adam J. Bernard, Daniel Johns, Karishma Bhandari
august 10, 2018 - 7pm EST
Starring: Daniel O’Meara, Maria Papas, Christian McKay, Lyne Renee
august 17, 2018 - 7pm EST
Starring: Matt Angel, Morgan Taylor Campbell, John Cassini, Sean MacLean, Chris McNalli, Brandi Alexander
august 24, 2018 - 7pm EST
Starring: Christina Bennett Lind, Gene Gallerano, Heather Lind, Jeff Barry, Drew Denny, Michael Izquierdo
august 31, 2018 - 7pm EST
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UK PREMIERES SNAPSHOT
Starring: Paul Sparks, Joey Lauren Adams, Dallas Roberts
august 4, 2018 - 7pm BST
Starring: Tara Karsian, Andrea Grano, Sigrid Thornton, Patrick O’Connor, Jenny O’Hara, Larisa Oleynik
august 11, 2018 - 7pm BST
Starring: Oris Erhuero, Ama K. Abebrese, Jimmy Jean Louis, Fred Amugi, David Dontoh, Ophelia Dzidzornu
august 18, 2018 - 7pm BST
Starring: Stef Dawson, Penn Badgley, Richard Kind
august 25, 2018 - 7pm BST
Close Up: Premiere Feature Review
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Forgotten Man
US Premiere AUGUST 3 - 7PM EST
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endered in hues of classic black and white, Forgotten Man is a gorgeously conceived dark comedy, visceral, and deeply impactful. The film marks Arran Shearing’s triumphant directorial debut, following Carl, a young theatre actor with a troubled past in East London, as he becomes involved with Meredith, a beautiful and wealthy out-of-towner, hoping to kindle a romance with her while also preventing her from watching a sold-out play that he happens to star in: A play that he wrote, and whose cast is made up of homeless actors with histories of incarceration. Carl yearns for a better life, caught between possibility and obligation.
Forgotten Man is a multi-layered treasure, beautifully shot, and darkly funny that hints at the gap between entertainment and exploitation in the world of theatre and beyond.
There is so much talent on display here. Edward Havens, Film Jerk
Forgotten Man delightfully plays with the boundaries of genre, incorporating healthy bursts of breaking the fourth wall, intermingling aspects of spoken word poetry into the film, and dividing the text into parts, as one might organize the acts of a play. In so doing, Shearing makes the film itself doubly performative: a performative and highly mutable movie, just as much as it illustrates the high-stakes drama of the narrative as it unfolds before the viewer’s eyes. The intrigue of Forgotten Man is made even more impactful because the theatre company in the film is based on a real-life troupe that featured formerly incarcerated homeless actors.
The leading actors deliver richly nuanced performances that pull the audience into the world of the film. The scope of the story, and the people who inhabit it, add so much character and life to the movie: They are not archetypes, but rather are thrilling, fully fleshed out personalities, who each bring a different dimension to Forgotten Man. One could not discuss this film without also talking about its often-playful social critiques. In Forgotten Man, the wealthy vie for sold-out tickets to a show about homelessness, played by current or formerly homeless actors, only to complain that the performers “don’t look” homeless enough.
Shearing exposes the fissures between representation and the exploitative demands of the wealthy class here, who consume the struggles of the homeless population as a form of entertainment, while also refusing to actually talk to members of that community. Forgotten Man is a multi-layered treasure, beautifully shot, and darkly funny that hints at the gap between entertainment and exploitation in the world of theatre and beyond. It is a film that grabs hold of the viewer, as it inspires reflection and careful self-examination.
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Close Up: Premiere Feature Review
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All The Birds Have Flown South
UK Premiere AUGUST 4 - 7PM BST
fter decades of caring for his ailing mother, Stephen [Paul Sparks] is left alone in her house after her recent passing. An untouched museum of porcelain dolls, pills, dentures, and birdcages, one has the impression that the home has remained frozen in time and Stephen along with it. His arrested development is painfully obvious in his awkward social interactions, his almost constant silence, and his voyeuristic tendencies. The mother’s absence haunts the screen, as we drift through the house while Stephen lays out one of her dresses on the bed. When he finally leaves the nest, Stephen heads to a local diner where he quickly becomes obsessed with a waitress named Tonya. She is also a caretaker, but she tends to her abusive and chronically ill husband, Jimmy.
At times, it is both poetic and mysterious. Scene after scene keeps you wondering what is coming next. Nathan Box, NateTheWorld
It's the kind of horror movie that transcends the genre label; it's about the quiet monsters living lonely in our midst. Philip Martin, Arkansas Online
Sensing her plight as an opportunity to get to know Tonya better, Stephen first offers her a ride home, and then another to take Jimmy to the hospital for treatment. When he later volunteers to serve as a caretaker for Jimmy, the latter quickly grows suspicious. But Tonya, desperate for help, accepts without being able to afford the luxury of considering his motives. As the paths of these three characters, all of whom seem to be heavily burdened by a dark past, more closely entwine, the action begins to spin from the mundane and the unseemly to the horrific. All the Birds Have Flown South is a Southern Gothic thriller with elements of surrealism that play off an otherwise highly-realistic character study of the life of impoverished motel-dwellers from rural America and an oddball introvert who has suddenly taken an interest in them.
Writer-directors, brothers Joshua and Miles Miller, transpose splendidly deformed elements of their own experience – a general mood of foreboding and gloom – from life growing up in Arkansas to their work. Incidentally, the film was shot on location there. With engaging cinematography and a score that keeps building tension, All the Birds Have Flown South is a unique and raw portrait of set of dismal existences. In addition to the richness of the dark mood painted by the Millers, what stands out in this film are the stellar performances by a series of successful actors at the height of their careers. Paul Sparks of House of Cards and Boardwalk Empire plays the creepy and subtle Stephen.
Cinema favorite Joey Lauren Adams gives an Oscar-worthy performance as the destitute and unlucky Tonya, whose life is plagued by the men that surround her. Just when it looks like things cannot get worse for Tonya, or as if she cannot get in her own way even more, it gets darker for her. Adams and Sparks make for a perfectly original odd couple, even as they are not truly playing a couple. Dallas Roberts frustrates them both as the belligerent Jimmy.
All the Birds Have Flown South will be a favorite of those who enjoy psychological dramas and gothic horror in the notable and unique tradition of the American south. Be sure to see it this month!
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Close Up: Premiere Feature Review
Six Rounds
US Premiere AUGUST 10 - 7PM EST
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irector Marcus Flemmings’ Six Rounds -- a fiction film that feels timeless, and yet is set during the wake of the 2011 London Riots -- follows Stally (Adam J. Bernard), a young boxer who must face an insurmountable choice, grappling with his place in the world, sense of self, and his past. Flemmings beautifully and viscerally illustrates Stally’s anxiety, juxtaposing quick cuts with slow-motion, somber color schemes with moments of vivid color, silence against screams, and stasis with heavy breathing. Six Rounds truly shines in creating a poetical rhythm that taps into personal and social unrest; each image, and every gesture become synecdoche. The emotional power of the film is underscored by the stellar performance of lead actor Adam J. Bernard, who so beautifully captures the zeitgeist.
A powerful and touching film that gets everything right, from performance to editing, and leaves a lasting impression. UK Film Review
The film ultimately foregrounds the gravity and importance of making choices, as Stally’s white private-school girlfriend, Mermaid (Phoebe Torrance), once implies. But Stally’s personal anxieties and experience take on so much gravity in light of the riots; the personal blends with the social, political - there are few films where breaking the fourth wall has been used so effectively, so harrowingly. They jolt the viewer into paying attention, while also illustrating how Stally’s experiences are tied together by themes of restlessness and social instability. His sense of identity is always in flux, whether he is sharing an intimate moment with his girlfriend, speaking with a classist homeowner or trying to move away from certain bad influences in his life.
Six Rounds is powerful stuff. Its running time may be just a shade under an hour, but its memory will sticks in the mind for much longer. Freda Cooper, UK Film Review
Truly, the dialogue is razor-sharp and the script gives the characters plenty of room to develop. Even though the run-time is less than an hour, the film allows the characters to completely subsume us, and the story to feel at once personal and historical, nuanced yet writ large. Six Rounds establishes itself within the genre of boxing films, while also defying such characterizations. The film is, in many respects, about the importance of the sport to Stally. But here, the very physical aspects of boxing, emphasized by the sound mixing that underscores Stally’s heavy breathing as a kind of poetic rhythm, becomes about the very act of breathing itself: Of staying alive, surviving, in a traumatic and difficult world. Six Rounds will leave you breathless with its haunting visuals, powerful social message, sharp wit, and gorgeous poetics. It is gripping and just as urgent today as ever.
BFFs
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Close Up: Premiere Feature Review UK Premiere AUGUST 11 - 7PM BST
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hen it’s time to celebrate Kat’s birthday, her family and friends cannot stop themselves from reminding her that she is reaching middle age unmarried. In fact, her mother’s gift is a couples’ therapy retreat weekend called “Closer to Closeness,” which she offers with the idea that Kat will invite her most recent ex-boyfriend to attend.
Only Samantha, her best friend, sees how cringe-worthy the celebration has become in its fixation on marriage, and the two BFFs escape to bemoan the tediousness of relatives over some hard liquor. During the course of their libations Samantha comes up with a solution to the unseemly birthday present–she can go together with Kat as a couple on the retreat! They both have been needing a vacation anyways, and what could be more entertaining than hanging out with the kind of people who would attend group therapy?
Every little layer and voice in BFFs is fun and fascinating, creating a nice hidden gem. Every Movie Has a Lesson
...delivered with a light touch and sharp comic timing. Sheri Linden, The Hollywood Reporter
Entertaining it is, indeed, when the two venture out to the new-age compound designed to rekindle and reignite romance. From group sharing and “cluck therapy,” to obstacle course challenges, the pair quickly realize they have gotten themselves in too deep as they pretend to be a couple. In their discomfort, they start to consider the possibility that some unexplored feelings exist between them. The result is an unexpected and original re-imagining of friendship and love. Writer-stars and real-life BFFs Andrea Grano (as Samantha) and Tara Karsian (as Kat) have an incredible wit and deadpan delivery in the most absurd of situations. The authenticity of their friendship and familiarity with one another shines through their performance.
Grano and Karsian are surrounded by a cast of familiar faces and practiced comedians, who create a hilarious but credible atmosphere for the couples’ retreat. From a gay couple struggling with trust issues, to a forever-young and carefree husband exasperating his wife, the retreat pits a room of complete strangers together in the most messy and personal aspects of their lives.
BFFs balances comedy and the absurd with moments of heartfelt contemplation about the extent and depth of friendship, the nature of romance, and the character of the couple as a social ideal. The result is a smart comedy with a mature sense of humor and a lot of heart. Be sure to share BFFs with your own favorite friend on Flix Premiere.
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Here Lies
Close Up: Premiere Feature Review US Premiere AUGUST 17 - 7PM EST
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film director prepares a shot as chaotic bodies flit nervously around set. He tells us that a young woman, Maria Hadley (Tallulah Harlech) is lying half-naked on a bed, her body contorted for the gluttonous gaze of Ernst Hellman (Daniel O’Meara), the famous artist painting her in oil on canvas. Director Duncan Ward throws us in media res, in the middle of a scene from a fictional movie called Ernst Hellman’s Nudes, which is of course how Here Lies - the movie that we are watching - begins. Ward gracefully adds his biopic to the genre of self-consciously cinephiliac cinema (à la Godard or Kaufman), with a triumphant work about the tensions between artist and muse, director and subject, financier and auteur. Most crucially, Here Lies feels like a timely indictment of the “casting couch” in the era of the #MeToo movement, a story of male manipulation and abuse of women when such conversations are urgently important.
It’s a darkly funny yet sometimes difficult film that takes a most extreme case of misogyny to task, painting a bleak picture for women.
Here Lies studies the artist Ernst Hellman who was known for an oeuvre of female nudes, as he searches for a muse to replace the one who walked out on him. Ward, who seems to feel quite at home making films about artists and the creative process - his credits include Imaginary Landscapes, a 1991 art-house film about the mystical, meditative sounds of Brian Eno, and Boogie Woogie, a 2009 film about the international art scene, named after a Piet Mondrian painting - skillfully interweaves Hellman’s story with a narrative about the director’s struggles (played by Ward himself) to make the film Ernst Hellman’s Nudes when the lead actress quits.
Here Lies centers on two men as they deceive women into becoming bodies that they can profit from; they view women as embodiments of the hysterical woman trope, and as fodder for sexual gratification. Here Lies parodies their egos. Ward’s director is so exponentially creepy that he at one point asks an actress if he can take a photograph of her - “for the artist,” which, with a pregnant pause, he ensures will be erased from his heart-drive after filming. It’s a darkly funny yet sometimes difficult film that takes a most extreme case of misogyny to task, painting a bleak picture for women. The world of this film is so devoid of gender parity and of artistic collaboration that it seems to ask the viewer: Must we still hold onto the preciousness of male auteurs?
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Close Up: Premiere Feature Review
The Cursed Ones
UK Premiere AUGUST 18 - 7PM BST
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uring recess at school, a girl is accused of being a witch by her peers. Fodder for childish nonsense around the world, the accusation seems harmless enough – until it becomes deadly serious. This is what can happen, as Arthur Miller famously has shown, when superstition couples itself with opportunism in the rocky and unstable terrain of societal change. But the setting in The Cursed Ones is far from Salem, Massachusetts. Rather, the action takes place in a rural West African village where the urban journalist Godwin Ezeudu has been sent to cover a small tribal festival. What he finds is a village in turmoil when a sacred ritual yields no prize for its hunters. People are hungry to cast blame for the enmeshed local poverty and scarcity at any easy target.
...it has all the elements of a fantastic film - Great story, great acting, great cinematography and fantastic sound. Nollywood Observer
It’s a heart-pounding film which asks powerful questions about culture, tradition and the most vulnerable in society. Precious Oyelade, True Africa
Enter Paladin, a traveling combination of shaman and exorcist, who will identify and cast out demons, for a rich fee. Godwin discovers, though, that the huckster has a dark history which raises the stakes of his presence in the village from mere fraud to outright danger. Will the reporter be able to team with the local clergy to stop the village from being consumed by the fever of a witch hunt?
What follows is an intense social drama that exposes, through fiction, the real-life practice of maligning, torturing, and killing young women who are accused of witchcraft. The problem has been identified by the UN as reaching daunting proportions. Directors Nana Obiri-Yeboah and Maximilian Claussen approach this disturbing subject by way of the creation of a rich and vibrant portrait of tribal village life in their cinematic universe. We are witnesses to the bold colors and pageantry of the rite of the hunt. The eclecticism and enmeshment of Catholic religious practices with indigenous traditions, stands out for the ways in which it produces a unique culture, even as the overall setting shows itself to be a recipe for potential disaster.
Oris Erhuero gives a standout performance as the relentless Godwin, who finds himself completely surprised to have discovered a story of real import in the village. We see the passion of his resolve transform him from a mere outside observer of a social problem into an active participant in its attempted resolution. Will Godwin manage to intervene for the young girl before it is too late? The Cursed Ones is a powerful film that brings us into a rarely-explored and understudied living culture. It has an impactful message that is sure to shift our perspectives of the situation of young women in rural West Africa. No wonder, then, that it won three major production accolades, for Best Director, Best Cinematography, and Best Production Design at the Africa Movie Academy Awards.
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Close Up: Premiere Feature Review
The Orchard
US Premiere AUGUST 24 - 7PM EST
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os Angeles talent agent Max Roth brokers deals and lives the fast life of a Hollywood hotshot. Or at least he does until inheriting a distant aunt’s estate on an old peach orchard in remote British Columbia. Now Max must put all business on hold to go and prepare to sell the house and land to a group of eager Japanese developers. Nothing can stand in the way of him turning a quick profit. Nothing, that is, except a band of restless locals. When Max meets Olivia she is naked and handcuffed to one of the peach trees in an act of metaphorical and literal resistance. A free-spirited, beautiful woman, grieving the loss of her good friend – Max’s aunt May–Olivia intends to obstruct any changes to the property and peach orchard. Will she succeed in winning over Max and convincing him to keep the estate, or at least foil his plans by other means?
The Orchard is a dramatic comedy set in British Columbia’s picturesque Okanagan Valley and southern California. From the LA boardroom to Max’s home and the remote Canadian countryside, the film is shot in a host of vibrant and incredibly well-appointed locations.
The rambunctious group has a very natural and easy chemistry. Cinematographer Ronan Reinart artfully frames Twa’s meticulously appointed sets and gorgeous landscapes, building up the rural region as a serene escape from the pressures of urban life.
The Orchard is a dramatic comedy set in British Columbia’s picturesque Okanagan Valley and southern California. From the LA boardroom to Max’s home and the remote Canadian countryside, the film is shot in a host of vibrant and incredibly well-appointed locations. Aunt May’s house is a detailed reflection of her soul, replete with homemade voodoo ornaments, bobbles, and a candle-ridden boudoir. As Max discovers the house and its contents, his memories of his aunt come flooding back. So, too, do the rolling hills and plains of the Okanagan Valley seem to endow its inhabitants with an easygoing approach to life in connection with the land. Director Kate Twa assembled an ensemble cast for the film from her work as an acting coach in Vancouver.
Ultimately, however, The Orchard stands out as a fine act of storytelling, transporting us along with Max to a place where we can reevaluate our priorities and learn how to live our lives as our authentic selves again. Matt Angel and Morgan Taylor Campbell deliver fine performances as Max and Olive, developing memorable screen chemistry. Be sure not to miss the beauty, the earthy and graceful simplicity of The Orchard.
Cinematographer Ronan Reinart artfully frames Twa’s meticulously appointed sets and gorgeous landscapes, building up the rural region as a serene escape from the pressures of urban life.
Close Up: Premiere Feature Review
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The Paper Store
UK Premiere AUGUST 25 - 7PM BST
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evenge may be a dish best served cold, but there is nothing frigid about Nicholas Gray’s vendetta drama, The Paper Store. Passion, ambition, betrayal, and retribution are all on the menu in this brassy and heady feature. Annalee Monegan (Stef Dawson) is a professional college essay writer. Priced out of finishing her own undergraduate education, the highly capable Annalee churns out papers in all subjects as a hired gun for desperate, lazy, or otherwise preoccupied co-eds. When work introduces her to the enigmatic Sigurd Rossdale (Penn Badgley), her comfortable routine is quickly disturbed, as he demands more of her time and all manner of attention. Sharing a love for film and a sense of arousal brought about by the contemplation of big ideas, their relationship evolves into one of intense co-dependence until it is punctuated by betrayal. What ensues is a revenge drama that eschews quick moral judgments. Rather, it manages through this heated pair to paint a picture of an entire higher education system in which cheating and cold pragmatism are the pervasive rule rather than the exception.
Based on a play written by the latter [Katharine Gray], the duo [Nicholas and Katharine Gray] expertly adapted the work for the screen, producing a gem of a character study in the process. Linn Grey, Los Angeles Film Review
The Paper Store is a wonderfully palpable interrogation about the ultimate value of an institution our society holds so dear. Conor O’Donnell, The Film Stage
Stef Dawson is an impeccable Annalee, balancing fiery righteous indignation, brilliant turns of phrase and observation, and restrained displays of fragility. Penn Badgley strikes a handsome and elusive Sigurd, asserting a manipulative personality and then retreating to warmth, cleverness, and concern.
Richard Kind effortlessly completes something of a backward trio as the “Alternative Cinema” Professor Marty Kane, who inserts himself in the conflict between Annalee and Sigurd. Together they make a highly skilled set of lead actors, with particularly compelling chemistry emerging between Dawson and Badgley. One of the film’s great strengths is its writing, which should come as no surprise as its screenplay was adapted from a play penned by Gray’s wife, Katharine Clark Gray, and co- written by the couple. The dialogue has deliberate shades of poetry, characteristic of an exhilarating theatrical piece. But such flirtations with lyricism are explosively paired with a fast-cutting, masterfully framed, and well-paced film aesthetic to great effect. With its academic backdrop, it’s hard not to see the film as a contemporary riff on a Who’s Afraid of Virginia Woolf, replete with an updated perspective on higher ed and an even more blunt and raw look at the couple. Whatever its influences, The Paper Store is sure to score a good mark of its own.
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Close Up: Premiere Feature Review
Fireworkers
US Premiere AUGUST 31 - 7PM EST
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ccasionally, a great loss invades our lives to remind us of the value of each moment we have with those we know and cherish. Fireworkers is a film about one such event that sends a group of still-young adults on a quest to reconnect with what drew them to one another in the first instance. Brought together unwittingly, by the sudden death of a longtime friend, six estranged pals must face one another with all of the baggage of their collective history to fulfill her final wish – for them to all be together. When Esther dies, invitations are sent to six of her formerly close chums who have since drifted apart and neglected both her and each other. Upon arriving at her wake, she has left them individual instructions describing how to complete her bucket list, and she puts them to the task as a group.
Moments of unified grief and fond remembrance punctuate the action of the film, which crescendos into a sparkling finale.
The result in Fireworkers is a stroll through a garden of memories, collecting bits and pieces of the essential elements of the lives and shared pasts of these friends until, little by little, a full picture of the complexities of their bond is thrown into sharp relief. As the assembled crowd mourns the dead, reflects on the past, and discusses their misgivings, regrets, and aspirations for the future, the film leads us through the journey of their story. Failed past romances, new flames, and quests of self-betterment merge. Moments of unified grief, and fond remembrance, punctuate the action of the film, which crescendos into a sparkling finale.
it is an examination of the inbetween, of the nowhere, of the reality of looking for answers that might not exist. Christina Bennett Lind, Director
As is required for such a picture, Fireworkers benefits from a strong ensemble of actors whose chemistry is riveting. Director and actor Christina Bennett Lind, Heather Lind, and Gene Gallerano stand out for their inspired performances. The film is shot in such a way that it gives insight into the individual characters’ lives, the dynamics of their interpersonal relations in small groups, and then the totality of the herd. A poetic tribute to friendship and its perseverance in the face of grief, Fireworkers is a drama that builds us up even as it challenges us to live fuller, more meaningful lives with those we love while they are still near.
HOME OF AWARD-WINNING CINEMA AND MORE
“ At times, it is both poetic and mysterious. Scene after scene keeps you wondering what is coming next ” Nathan Box, NateTheWorld
UK PREMIERE August 4, 2018 - 7pm BST A contemporary psychological thriller set against the frigid winter of the rural south.
WATCH ON
Apple TV
iOS, Android, Web
Amazon Fire
ChromeCast
“ The Paper Store is a wonderfully palpable interrogation about the ultimate value of an institution our society holds so dear.” Conor O’Donnell, The Film Stage
Roku
Smart TVs
UK PREMIERE August 25, 2018 - 7pm BST
A tale of a former college student forging essays for cash, the client who becomes her lover, and the professor who discovers their scheme.
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