Flix Premiere Close Up Magazine - October 2018

October 2018

FLIX PREMIERE Close-Up

US THEATRICAL RELEASE OF

AND THIS MONTH’S PREMIERES

1

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!

Su pe rb ob

IN THIS ISSUE:

Ten sion (s)

October Premieres Snapshot Learn about our exclusive new premieres showing each week.

US October Premieres Snapshot - pg. 3

Pip e Dr ea m

UK October Premieres Snapshot - pg. 4

Close Up: Premieres Feature Reviews A chance to immerse yourself in the wonderful stories premiering each week.

N o b le

Superbob - Brett Goldstein, Catherine Tate, Natalia Tena, Laura Haddock, Ruth Sheen - pg. 5

Fi r

S in k

Here Lies - Daniel O’Meara, Christian McKay, Maria Papas, Lyne Renee - pg. 6 Tension(s) - Louis Mandylor, David Kinsman, Richard Roy Sutton, François Mequer, Joel Lacoursiere - pg. 7 The Orchard - Matt Angel, Morgan Taylor Campbell, John Cassini, Sean MacLean, Chris McNally, Brandi Alexander - pg. 8 Two Down - Alex Hassell, Emma King, Tori Butler-Hart, Nick Rhys, Conleth Hill, Graham Butler - pg. 9 Fireworkers - Christina Bennett Lind, Gene Gallerano, Heather Lind, Jeff Barry, Drew Denny, Michael Izquierdo - pg. 10 Noble Fir - Richard E. Wilson, Mandy Rose Nichols, Desiree Aceves, Samuel Pearson, David Kessler - pg. 11 Pipe Dream - Chris Schmuttermaier, Angela Olyslager, Michael Balk, Robert Griffiths, Mercedes Porter - pg. 12 CEO’s Corner - Flix Premiere’s CEO & Founder - Martin Warner shares his thoughts on Bikini Moon - pg. 13-14

Full Page AD

PLAYING AT CINEMA VILLAGE, New York City OCTOBER 12-25, 2018

3

US PREMIERES SNAPSHOT

Starring: Brett Goldstein, Catherine Tate, Natalia Tena, Laura Haddock, Ruth Sheen

october 5, 2018 - 7pm EST

Starring: Louis Mandylor, David Kinsman, Richard Roy Sutton Franรงois Mequer, Joel Lacoursiere

october 12, 2018 - 7pm EST

Starring: Alex Hassell, Emma King, Tori Butler-Hart Nick Rhys, Conleth Hill

october 19, 2018 - 7pm EST

Starring: Richard E. Wilson, Mandy Rose Nichols, Desiree Aceves Samuel Pearson, David Kessler

october 26, 2018 - 7pm EST

4

UK PREMIERES SNAPSHOT

Starring: Daniel O’Meara, Maria Papas, Christian McKay, Lyne Renee

OCTOBER 6, 2018 - 7pm BST

Starring: Matt Angel, Morgan Taylor Campbell, John Cassini, Sean MacLean, Chris McNalli, Brandi Alexander

october 13, 2018 - 7pm BST

Starring: Christina Bennett Lind, Gene Gallerano, Heather Lind, Jeff Barry, Drew Denny, Michael Izquierdo

october 20, 2018 - 7pm BST

Starring: Robert Griffiths, Mercedes Porter, Nathan Wright, Chris Schumttermaier, Angela Olyslager

october 27, 2018 - 7pm BST

Close Up: Premiere Feature Review

5

Superbob

US Premiere OCTOBER 5 - 7PM EST

R

obert Kenner is just a regular guy. He keeps to himself, takes care of his aging mother, and wants to enjoy his day-off. Except he’s not your average guy - he’s Superbob, the world’s only superhero. Robert Kenner (Brett Goldstein) has gained supernatural powers after being hit by a meteorite and he is recruited by the government and Ministry of Self-Defense to control his powers and save the world.

Superbob becomes Britain’s hottest commodity, saving everyday citizens, while also stirring jealous sentiments with foreign powers who envy his supernatural skills. Superbob doesn’t let any of this bother him, though.

He may be able to fly and shoot laser beams from his eyes, but he hasn’t been able to get a date for six years. When an attractive librarian asks him out, he is thrilled. On his day off, as he nervously prepares for the date, Theresa (Catherine Tate) calls him into work to shake the hand of the American president. When he refuses to shake his hand so that he can keep his precious appointment with the librarian, America declares Superbob “a weapon of destruction.” Chaos on a global scale ensues.

Charmingly inventive mockumentary.

Kevin Maher, The Times

Superbob stands out as a film in which the direction, cinematography and performances perfectly coalesce.

Director Jon Drever delivers a film that gorgeously satirizes the myriad of superhero films without being heavy-handed: Superbob himself is an unwitting superhero, both ambivalent to the fame that has been thrust upon him, but up to the task of his civic duty. He is charismatic, if a little bathetic, and just naive enough to be almost universally appealing. With Superbob in the lead, the film is genuinely delightful.

Writer-turned-star Brett Goldstein is pitch-perfect, delivering his lines with the quiet aplomb that his character needs. The look of the film, accented by vibrant color grading, is warm and inviting. This is coupled by the strong, platonic chemistry between Superbob and his boss, Theresa. Her wit and his demonstrated, unexpected sweetness play off of each other to hilarious effect.

The film is uplifting, filled with beautiful shots, smart dialogue and strong characters. Superbob is unique within the superhero mockumentary genre, creating a character entirely human and emotionally fallible - with the exception of the superhuman powers. What lingers most about the film is that the characters are, for the most part, individuals that the audience will want to learn more about.

After the film ends, there is a sense that the stories of these characters should continue; they are so likable, nuanced and hilarious.

6

Here Lies

Close Up: Premiere Feature Review UK Premiere OCTOBER 6 - 7PM BST

A

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 hard-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?

97

Close Up: Premiere Feature Review

Tension(s)

US Premiere OCTOBER 12 - 7PM EST

J

ake Lamar (Louis Mandylor) wakes up early on what appears to be a quiet morning. He checks in on his sleeping daughter, walks into the kitchen and takes a swig from the liquor bottle that is on his kitchen counter. After a few meditative moments, he notices that the back door is open, as if someone has broken in. He gets the gun from his cabinet and proceeds calmly to the corner of the room but two men, masked and armed, find and hold him hostage.

He’s bewildered, but only a little, as Jake is a negotiator-turned-policeman. He’s used to hostile situations, but his captors only give him vague instructions and he does not know why they’re holding him. The men, brothers Kyle (David Kinsman) and David (Richard Roy Sutton), explain that they’ve targeted him because they need him to stop a vicious attack on the city and only Jake knows how to do it. Lives are at stake, and it looks like someone might get hurt.

Vincent Lecroq’s Tension(s) is a fast paced thriller that will keep audiences guessing until the very end.

10

Vincent Lecrocq’s Tension(s) is a fast paced thriller that will keep audiences guessing until the very end. It’s the kind of film where every choice that is made becomes crucial to survival, and every choice has a consequence. In many respects, that is what Jake’s captors are trying to teach him: that even good men make choices that have unintended and sometimes catastrophic consequences.

The impressive performances illustrate the greater tensions at work lingering below the surface: none of the characters say exactly what they mean. Tension(s) is not just another thriller or action film as Lecrocq’s creation stands out for his compelling, three-dimensional characters that progress throughout the course of the movie. It has a big heart that suffuses throughout the action, and a theme of community and connectedness that gracefully interweaves.

As a thriller, Tension(s) is positively enthralling. It keeps the audience guessing at all times. The lightning fast camera work, tension-filled close-ups, and an excellent score punctuate the excitement of watching this film. The performances are standout and star making with the central characters delivering their lines with cunning and nuance.

There is nothing more satisfying than a thriller; watching high-stakes chases, excellent quips, quick cuts and vibrant music. Lecrocq accomplishes all of the above, providing terrific direction to a stellar ensemble cast. It will grab the audience’s attention from the first shot; Tension(s) is gripping, evocative and gorgeously crafted.

8

Close Up: Premiere Feature Review

The Orchard

UK Premiere OCTOBER 13 - 7PM BST

L

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.

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.

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.

9

Two Down

Close Up: Premiere Feature Review US Premiere OCTOBER 19 - 7PM EST

F

ast-paced, full of intrigue, and punctuated by a vintage, very filmic look, director Matthew Butler’s Two Down evokes the history of hitman thrillers while inserting itself within the genre as a new addition: a force to be reckoned with. Its protagonist, a middle-aged man named John (Alex Hassell) is not a cold-blooded killer. He was once a war hero, but has since become disillusioned. He’s smart, a little emotionally distant, and pulsing with dry humor. John walks, or rather fights, his way into Sophie’s (Tori Hart) apartment and their lives will never be the same.

Two Down is an intelligent, quippy (in the best way possible), and incredibly well cast piece of cinema.

Katherine MacAlister, Oxford Mail

It was meant to be a quiet night for Sophie. She had just ordered Chinese food and was drinking a glass of red wine.

She leaves her apartment to take out the trash, when John approaches her with a gun and asks her if an old man, a man that he has been told to murder, lives in that apartment.

Sophie explains that he does not, but John forces himself upstairs any which way. John is bleeding profusely from a gunshot wound. Sophie tends to the wound until the doorbell rings: it’s the Chinese food. Sophie opens the door, telling the delivery man Luke (Graham Butler) to leave.

Sensing something is awry, he finds a way into her apartment, only to discover John there. Over Chinese food, the three confide in each other. They learn that John is a hitman, but suspect that his injury may be very calculated and personal. Together, they seek to find a solution before it’s too late.

One of the most fascinating aspects of the film is the dynamic between the three central characters. John and Sophie are both strong-willed, relatively soft-spoken yet extremely confident and cunning. They are two sides of the same coin: one is imprisoning the other, and yet the victim Sophie seems to be miles ahead of John. Luke acts as the balancing point, whose eagerness and naivety give a playful energy to their exchanges. Two Down is gorgeous, mysterious, and captivating from beginning to end.

Close Up: Premiere Feature Review

10

Fireworkers

UK Premiere OCTOBER 20 - 7PM BST

O

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.

Noble Fir

11

Close Up: Premiere Feature Review US Premiere OCTOBER 26 - 7PM EST

H

enry Dean (Richard E. Wilson) is a man of quiet, steadfast composure - or so it would seem. He’s a Christmas tree farmer and spends his days tending to the farm, working with his grandchildren to prepare for the end of Christmas tree season. He spends his nights alone and mostly avoids the company of family and friends, as under a mask of composure, he hides his heartbreak.

As Noble Fir opens, it shows Henry walking in his field, his back turned. It’s an image of someone who bears too much pain, an image of someone who works to forget his troubles. Amplified by the shaky-cam effect, it’s a picture of a man who projects a veneer of

Joseph Arney and Christopher Graham’s Noble Fir is an interesting character piece that provokes serious questions and forces you to think about them.

Noble Fir is truly a film of visceral energy, character driven and visionary in its resolute focus on Henry.

The co-directors and writers Joseph Arney and Christopher Graham do a remarkable job of slowly revealing the cracks in Henry’s veneer. He may seem like an anti-hero of sorts at first, shelled-off from the world and uninterested in it. But as the cracks appear, we see Henry for his tenderness, for the reverence with which he treats the members of his community.

JD Duran, In Session Film

The camera work is honest and immediate, using long takes as a way of bringing the audience into the film, slowly and fully. The delight of a film like Noble Fir is that the audience can witness a remarkable character break down his walls and work towards becoming a better human being throughout the course of the movie. The viewer is privy to transformation; to the transformative power of storytelling and of kindness, as the film shows.

Noble Fir shares an inspiring story of someone absorbed in quiet solitude and a sense of wonder in equal measure. He tends his farm, finding meaning in his labor of love and a way of giving back to the world.

A story elegiac, Noble Fir is a lesson in compassion and forgiveness. The film is a deeply meditative and rewarding experience, written with extremely precise dialogue and peppered with unexpected dry humor.

As Henry undergoes a coming-of-age story later in life, audiences will be taken on a journey of self-discovery, loss, and the bravery and grit of this one man who tends to his farm, giving happiness to the community even while he himself suffers. He’s an almost saintly man, full of unwitting spirituality.

Close Up: Premiere Feature Review

12 12

Pipe Dream

UK Premiere OCTOBER 27 - 7PM BST

I

n the genres of “stoner” and buddy comedies, a prevailing theme is the question of what one should do when school is over: What is to be done in a world without responsibilities, and without parental supervision? Aaron Singfield’s Pipe Dream certainly takes up this question, and brings refreshing life to it in a riot of adventure during the legendary “Schoolies Week”.

Pipe Dream is pure cinematic fun...The film brings energy, In the opening scene, a very tense man speaks directly to the camera, informing the audience that he is working to end the war on drugs. As the officer in charge of the crackdown, he believes that he has ridden Queensland of all illegal substances. The audience will smirk here. Of course he hasn’t. Pipe Dream, a raucous rave of a film, exhibits excellent comedic chops, fine writing, and stellar performances by the ensemble cast.

life and infinite charm, and will leave viewers laughing long after is has ended.

And then there are two boys who yearn for adventure.

One is the officer’s son, a nervous, somewhat nerdy young man done with secondary school - and all he wants to do is celebrate. But when they leave a pet store, which is a front for crime, they unwittingly take a giant bag of weed, which happens to be the last bag in the owner’s possession.

Pipe Dream, a raucous rave of a film, exhibits excellent comedic chops, fine writing, and stellar performances by the ensemble cast.

The boys accidentally break the officer’s prized heirloom - a porcelain teapot - and they must find the income to replace it before the father returns. They approach a friend of theirs, a small-time drug dealer, to help them sell their weed and replace the teapot. It is not easy.

They soon gather the attention of the vicious drug dealers from the pet store, who have killed the store clerk for letting the drugs get away. On the way, the boys meet a bizarre cast of characters, stumble towards romance, and, above all, get the wild vacation that they had been so craving. The film is filled with laughs, innovative storytelling and more than a handful of unforgettable moments.

CEO’S CORNER

13

Q: It is quite exciting that Bikini Moon will have a release in New York City along with its premiere on the platform! What motivated this innovative exhibition plan? Can we expect more Flix Premiere films in theaters soon?

M.W: At Flix Premiere we want to continue to innovate around the services we offer the independent film community different licensing models, different marketing choices etc. Going theatrical was a natural place to bring our Originals so that important movies could benefit from the theatrical process, preparing a better audience run through FlixPremiere.com.

Flix Premiere’s CEO & Founder - Martin Warner shares his thoughts on Bikini Moon...

Q: Once again, Flix Premiere has produced an Original that melds traditional genres and challenges the status quo with an accomplished director. What drew you to Bikini Moon, and how do you conceptualize its place in a growing collection of bold Originals?

M.W: For me it’s simple: I have to believe and want to follow the characters’ journey, and the story itself has to be impactful, evocative or necessary. Bikini Moon had all the ingredients. It was a clear decision, and a film that will enjoy a loyal audience. Not least of all it has a powerful leading performance from Condola Rashad, and is told by a master filmmaker in Milcho Manchevski.

Not least of all it has a powerful leading performance from Condola Rashad, and is told by a master filmmaker in Milcho Manchevski.

Martin Warner

CEO’S CORNER

14 Q: What guides you in deciding whether to invest in a project like Bikini Moon? What is it about this film that makes it uniquely suited to Flix Premiere’s model?

M.W: Firstly, we are the only true ‘Mainstream Independent’ platform, so we are open to acquire all independent films.

But moreover, each movie will need to go through our independent and objective screening process. If the movie reaches a high enough score, we then go through an accreditation process - looking at what the industry is saying about the film, researching how the movie travelled at festivals, who has acquired it around the world etc. After this, we do an audience analysis. If this analysis is large enough and the story resonates with the firm, we may select it as an Original feature. Lastly, Theatrical Originals have the broadest audience impact and must be suited to the city in which they are playing. For instance, Bikini Moon was a distinctly New York based film since it was shot in NYC, and the director and lead actress were both from NYC. We decided Bikini Moon would have a great theatrical run there.

Q: How do you envision the development of the Originals program? Are there any other originals coming up?

M.W: We have two levels for our Originals development - an Online Original premiering online, and our Theatrical Original which will Premiere first as a physical theatrical in one or more theatres, in one or more cities (what we call a ‘Limited Theatrical’ run), and then it will have a General Release on FlixPremiere.com with its online Premiere just like the Online Original level. We have 10 Originals we are working on right now, with many more to come, and plan to release a Series of Theatrical Originals next year.

We have 10 Originals we are working on right now, with many more to come, and plan to release a Series of Theatrical Originals next year.

Martin Warner

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. ”

UK PREMIERE October 6, 2018 - 7pm BST A film about film-making and the struggles involved in the creative process: artistic, technical, financial and personal.

WATCH ON

Apple TV

Amazon Fire

iOS, Android, Web

ChromeCast

Roku

“ Moments of unified grief and fond remembrance punctate the action of the film, which crescendos into a sparkling finale.”

Smart TVs

UK PREMIERE October 20, 2018 - 7pm BST

A friend’s untimely death sends six 30-somethings on a journey to confront her incomplete bucket list, to seek closure.

www.flixpremiere.com

Home of Award-Winning Cinema and more

LONDON OFFICE

LOS ANGELES OFFICE

2nd Floor, Berkeley Square House, Berkeley Square, London W1J 6BD, UK

468 N Camden Drive, Suite 200, Beverly Hills, California 90210

T +44 2085 880618

T +1(310) 601 3168 Email:

General: info@flixpremiere.com Film Partners: partners@flixpremiere.com Press: press@flixpremiere.com www.flixpremiere.com

Copyright 2018 All Rights Reserved