In d ep en d en t
St r eak
M a g a zin e Feb./Mar ch 20 21
" A La Cal l e" r ev eal s cr i si s i n Ven ezu el a
Ch ai Fl i ck s f eatures Jew i sh / I srael i programmi ng Lo u Si m o n t al k s
" A g o r ap h o b i a" " Th e Couri er" h i ts th eaters Ch at w i th cast & crew of
" Th e Pari sh " A cad em y o f M o t i o n Pi ct u r es an n o u n ces p r o g r am s
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Ch a i Fl i c k s A Chat wit h Neil Fr iedman By Rachel Gal vin On August 12, a new network was born devoted to Jewish and Israeli entertainment in the U.S. and Canada. It was founded by Neil Friedman and Heidi Bogin Oshin of Menemsha Films, and Bill Weiner, the former executive vice president of New Regency Productions (?The Revenant,? ?12 Years A Slave?, ?Mr. & Mrs. Smith?). This new niche network called Chai Flicks has over 300 films, documentaries, shorts, television programs, stage productions, music performances, dance, performance artists including multiple award winning and classic films. Some of the projects obtained by Menemsha Films that also have found a home at Chai Flicks are "The Women?s Balcony," "Gloomy Sunday," "Dough," "The Rape of Europa" and "1945." Their new series "The New Bl ack," which launched Jan. 21, is already getting plenty of attention. Friedman calls it "The Israeli Entourage." There are two new episodes every week on the channel exclusively. The show has already won four Israeli Television Academy Awards (Series, Director, Screenplay, Actor). It follows the adventures of four Haredi students who study at a yeshiva in Jerusalem. While one of the young men, Gedalya, keeps his nose in the Talmud and loves to judge those who do not, the other three prefer to enjoy life a little more loosely, and try to get Gedalya to come out of this shell a little, as they shop, play football and just generally get in a little good nature trouble. This is a fun watch, especially for those who do 1 understand Orthodoxy, but it is also
something that everyone can enjoy. It is told in Hebrew with English subtitles. This is just one of the many programs available now on Chai Fl icks, which is avail abl e on your TV, comput er or mobil e device using Apps f or Roku, Amazon Fire TV, Appl e iOS, Appl e TV, Android & Android TV wit h a mont hl y subscript ion price of $5.99 or a discount ed annual price of $66 f or t he year af t er a 7 day f ree t rial (prices subject t o change). Friedman is excited by this new venture. He had found through Menemsha Films that he had gained quite an audience here in Florida, as well as places like Chicago and Boston. "We do a lot of business in Jewish film festivals," he added. He looks at this new network as basically archiving films that are Jewish. But the films are not just Israeli. They come from all over the world and there are different divisions for different locations. Some of the films they may have passed on for Menemsha films may end up on Chai Flicks, so it gives them yet another outlet. Films that received a "no" on networks like Netflix now can have a home on this network, films like "1945," about WWII. which Netflix has passed on at the time. They are doing this venture at just the right time as there seems to
be an upsurge in interest in Jewish films after successes like the award-winning show "Unorthodox." The lead actress in that film, Shira Haas, has been propelled into fame. This is something that Friedman says would not have happened before the era of streaming services. Haas' latest film, "Asia," was picked up by Menemsha Films. Friedman also said that Israel has so many great TV shows that he is looking forward to sharing with the world. "We had the idea for this channel in the second week in March," said Friedman, who is glad they jumped on the idea right away, saying that the pandemic was a big help since people were staying home and watching TV, etc. They are gaining subscriptions to their network and they said once people sign up, they stay. "Once we get them, we keep them. The hard part is getting them," he said. He started a special program with synagogues, a referral service in which anyone who comes on board through the Rabbi, 20% goes back to the temple. "A lot of Rabbis reach out to us. We have 6000 synagogues on the list." he said.
To find out more about Chai Flicks and to sign up and start watching the programming, visit www.chaiflicks.com.
Neil Friedman
From "The New Bl ack," phot o by Ohad Romano
Heidi Bogin Oshin
Bil l Weiner
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On Cover: Nel son Navaret e & Maxx Caicedo, direct ors of t he document ary "A La Cal l e." Phot o Court esy of Priorit y Pict ures/ Miguel ?Gara?Ál varez
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Spooky Em pir e is com ing April 30 to May 2, Spooky Empire will be taking over the Wyndham in Orlando, FL, bringing plenty of guests, including well known actors to the mix. Actor Tom Sizemore ("Natural Born Killers," "True Romance," "Saving Private Ryan" and more) is making his first appearance. Also look for the return of Richard Dreyfuss ("Jaws," "Close Encounters of the Third Kind," "American Graffiti" and more) and an appearance by Michael Biehn, known for "Aliens", "Planet Terror," "The Terminator," "The Mandalorian" and more. The Girls of Halloween will also be there: Danielle Harris, Scout Taylor and Kristina Klebe, who all were in some of the "Halloween" films. Also Corey Taylor will be in the house. Known as the front man for Slipknot and Stone Sour, he was also in several films like "Sharknado 4," "Fear Clinic" and "Bad candy." He even created some comic books. More celebs yet to come! Of course the celebs are just part of the fun. There are always plenty of vendor booths and art booths, and tattoo booths, and usually celeb talks and phototaking opps, and other activities. You never know what to expect at Spooky. Remember, celeb appearances are subject to change. Keep an eye on the website for updates: http://spookyempire.com.
Save t he Dat e: Miami Jewish Fil m Fest ival Miami Jewish Film Festival is coming soon, April 14-29. Look for more on the festival in the next issue as well as on the Independent Streak Magazine Facebook page.
ht t ps:/ / miamijewishf il mf est ival .org
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Fi l m Spotl i gh t: " Th e Pari sh " By Rachel Gal vin Moving to a new town is never easy, but moving to a new town for Liz Charles and her daughter Audrey proves a bit more difficult than for most. A black cloud hangs over them. Liz's husband Jason (and Audrey's father), who was a soldier in Afghanistan, has died and, instead of moving in with relatives, Liz chooses to uproot them and move them to a new town. That also means a new school for Audrey. The move does not go well for either one of them. Liz can't sleep. She spends her days drinking wine and her nights popping pills in an attempt to forget her horrific nightmares, all of which involve her husband usually on death's door. Audrey, meanwhile, wants to go home. She hates her new town and her new school. But she manages to make at least one new friend to spend time with. She occupies her time working on drawings, but her vision is of darkness? bleak and creepy? showing more than just what she is feeling. She says her father is talking to her, giving her warnings. But that is just the beginning of what is about to befall them as secrets are revealed and old mysteries uncovered. Maybe the priest, Father Felix, can help them make sense out of what is happening. From the very beginning, the film has a sense of foreboding. Between the film's premise to the music, to the lighting and the excellent acting, this motion picture keeps you on edge. It has plenty of suspense and mystery. The characters are engaging. Direct or David Hogan worked on this film with his wife and producing partner Angela DiMarco, who also played the leading role of Liz Charles. She invited him on board and he jumped at the chance. The writer was Todd Downing. When asked what drew him to the story, Hogan said, "I love the characters and the story. The central question of 'How can we cope with unbearable loss?' interests me greatly. And when set against a supernatural backdrop with a bit of exorcism thrown in? What?s not to love?" He said it took him approximately 14 days to do principal photography plus two pick up days. It was filmed in and near Seattle, 5
Washington. He added, "Once I had, basically, the cast of my dreams, all I had to do was sit back and watch the magic." As far as his directing style, he said, "It?s important to communicate with the actors and make sure they are clear about what I am looking for in each scene. Between takes I think it?s important to check in with every actor, and if nothing else, give them, 'Good work, we?re going again.' If there are notes between takes, they are often questions rather than demands." The lighting added a lot to this feature, adding to the eeriness of it. "Lighting and color is so important in the cinema, as it can tell a very powerful and emotional story," said Hogan. "We were intentional with the lighting and the mood of 'The Parish,' and our cinematographer, Domenic Barbero, and our Colorist, Tim Maffia, are absolutely stellar." Another important part of the film were the effects, especially at the end, something achieved by their vfx artist Ian Hubert, who Hogan said, "knocked it out of the park." They also had to use some pretty intense makeup on Jason (Ray Tagavilla) in the nightmare scenes. "Ret Harrison was amazing with the SFX makeup. Kudos to Ray Tagavilla as well for putting up with a long day of being a bloody mess," said Hogan. Hogan has been working in the industry for two decades as an actor but got involved as a director for the last 10 years. So he knew a lot of actors, including his wife, who was a perfect choice for the leading
Sanae Lout sis pl ays Audrey Charl es.
Producer/ Direct or David S. Hogan
role. But despite knowing so many people, he still held a proper casting session. Some of the cast came from their acting school--Mighty Tripod Acting Studio, where they also held their auditions. Casting Bill Oberst Jr. was a different story. "I first 'met' Bill through interviews he did for the 'Film Courage' YouTube Channel. I found him to be compelling, intelligent and generous with his advice about the biz. I researched him more, and eventually we connected. At some point, when we were casting, I remember asking Todd and Angela if they thought Bill might be a good fit for Father Felix, as I was already quite excited about the idea. They agreed that it would be a great choice, and casting against type is often a wonderful recipe for success (Bill often plays dark/ sinister characters). We got Bill the script, and the rest is movie magic history." He added, "It?s a lot of work, but being on set is one of my favorite places to be, and working with this team of amazing actors and incredible crew? I can?t praise them enough." Hogan will next be seen as an actor playing Agitated Man in the creature feature "The Stairs," and as Artie in Rebel Kat Productions? "All Those Small Things." The idea to work as a director on "The Parish" came about quite awhile ago, according to Angel a DiMarco, who explained, "Years ago, my friend Todd Downing invited us over for a reading of a 6
Angel a DiMarco pl ays Liz Charl es.
screenplay he wrote... 'The Parish.' At the end of the night, I went up to him and told him I knew I wanted to make this movie. So, flashforward years and David and I are ready to dive in and make the film. Todd was great to collaborate with. We made some script changes and character developments. I was thrilled to see a strong female lead, a powerful story about grief and a slowburn exorcism added to the mix. I had to make it!" She added, "I was drawn to the character of Liz because she reminds me of my own badass mom. After the death of my father, she had to raise two girls on her own. So, I drew some from that, then I pulled from the many times I was dealing with grief. Run? Drown it out with wine? Hide? Or just try to ignore it. I took all of the above and put them into Liz. And, lastly, I always create a soundtrack for the roles I dive into. Each film has a theme and many scenes have a song. Then, when we got to filming, I made sure to ask for what I needed. This was usually me asking David for a few moments before diving into filming an intense scene." She had worked with her on-set daughter Audrey, played by Sanae Loutsis, before because she was one of the people in their acting studio as a student. "I already knew I loved working with her, that she was very talented and that our chemistry would be there for the entire film. We did have rehearsals and always made time on set to run scenes before 'Action,'" said DiMarco. Her favorite part of filming, she said, was filming with Bill Oberst 7 Jr. "David, Bill and I stayed at our key location, the brick tudor.
After we wrapped each day, we would talk about it after. Then, the three of us would start looking at the scenes for the next day. It was so amazing and collaborative, I didn't want it to end. I also loved working with this cast! Many of the actors were students of ours or friends we've known for years in the theatre scene. This was the kind of cast and crew that just clicked. We came together and lifted one another up each day." She added, "There are many difficult parts of making a feature length film, but for me, I just want to make sure everyone is having a fantastic time. I have the nickname 'Mama DiMarco' in the Seattle Theatre and Film Community and it's because I love to take care of everyone. And when I am a producer, even when I am acting too, I want to make sure my cast and crew are taken care of. So, the most challenging for me, was being the lead in the film, and having to let others help in putting out any fires and maintaining the positive atmosphere. I am so used to doing it all but it was amazing to let go of that." DiMarco started getting into acting at a young age. "I was a crazy kid. We were poor when I was growing up, so I didn't have tons of toys or games. So I would entertain myself, create characters, make up scenes to play out with my older sister, put on shows for the neighborhood, etc. My mom got me into theatre a.s.a.p., probably to release some of the Gemini energy. Then, one day (I was 7 or 8 years old), I was out with my mom and was 'spotted' by the daughter of a talent agent. This led to me signing with this agency, and then I went from not only doing theatre but also commercials and film. I also was bullied a lot as a kid and teenager, so I would often try and make my bullies laugh with me instead of at me. "I went on and studied in a BFA program, then moved to LA, started producing my own work and teaching others actors how to empower their art. I have been a performing artist for most of my life and I love giving people a story to relate to, escape into and get addicted to." She really seems to gravitate toward the horror genre and has been involved in many such film projects. "I was a huge 'Nightmare on Elm Street' fan when I was 8-10 years old ... yep, dark kid. Then, I got addicted to Stephen King novels and was drawn to the powerful stories and messages he wrote inside these horrors and supernatural thrillers. So, of course, I always wanted to be in a horror flick and be part of the bloody magic. I was in my 20s when I got my first leading role in 'Hollywood Kills'... shout out to my director Sven Pape, who saw me on stage in the play 'Closer' and knew he wanted to cast me. I learned a ton and how much I still needed to learn. But I got to be in a horror film! My role had her body covered in 'needles,' my eyelids got
'cut off,' my friends were tortured and killed... It was awesome!" When asked what else she is up to now, she said that she has several short films she is set to work on, but they have been on hold due to the pandemic. But, she is working on their third film , "Mr. Bleachers." "Mr. Bleachers is a cult classic in the works," she said. "Our buddy, Tim Carpenter, who wrote and directed, came to us and asked if we'd co-produce. We did some script tweaks, made some roles women, tweaked some ages and character traits and dove in! This film is different from 'The Parish.' 'Mr. Bleachers' is more of a horror film, tons of gore, language, some dark humor but also a powerful message on bullying, racism and a look at society. I also got/ get to work with my partner in all things, David S. Hogan. He is the title role, Mr. Bleachers, a head to toe bleached white being that appears out of nowhere to help our lead, Billy (Obadiah Freeman). Keep an eye on this film!" Asked what her advice would be for upcoming actors, she said, "Embrace who you are, what you can offer and enjoy the process. Celebrate every opportunity you get to act and don't just wait around for others, create your own opportunities." When asked how he got involved in the project to play Father Felix, Bil l Oberst Jr. said, "David and Angela asked me to play a man of faith in what they described as 'a slow-burn exorcism film.' The script was primarily a meditation on grief, which was icing on the dark cake for me. Those are the waters I live to swim in." In regard to preparing for his character, he said, "I had a feel for the inner life of a human trying to be a good shepherd, while facing personal demons, from hundreds of private conversations with ministers in my two decades of performing a live presentation of the teachings of Jesus of Nazareth in houses of worship of many denominations. To that, I added, to flesh out Fr. Felix's inner warrior, some 1st-person exorcist memoirs (Fr. Malachi Martin's Hostage To The Devil was particularly instructive.)" He added, "A few years ago I started thinking 'Boy, I'd really like to play an exorcist priest.' So, I started including this in my nightly prayers, you know? And, boom, I get a call from 'Hell's Kitty' creator Nicholas Tana asking me to play a priest doing an exorcism ... on a possessed cat. Doug Jones was my priestly partner on that one, and it was great fun. So God has a sense of humor, right? Then, David and Angela called and asked me to play it straight. I'm glad for both experiences. And if I'm asked to don the collar again, I'll do it. The vocation fascinates me. It's such a minefield." When asked what his favorite part was on the set, he said, "Well, Rachel, you're talking to a man who carries a tattered Xerox of the
Bil l Oberst Jr. pl ays Fat her Fel ix.
Roman Rite of Exorcism in his suitcase, so, of course, any battle between good and evil is always going to be my favorite! The fact that we filmed that climax in an actual house of worship, and shot it at night, made it extra memorable for me." He added, "Most of my time on set was spent with three of the loveliest human beings it has been my pleasure to work with: Angela DiMarco, Sanae Loutsis and Gin Hammond (who played Sister Beatrice). All were pro's pros; and all three made me look better than I am. That's the joy of this business -- you meet people who are better than you are all the time, and sometimes you get to work with them! The quiet moments with Angela's character were the most intense for me internally. It's more challenging to be subdued than to be noisy." Oberst added, "I'd recommend 'The Parish' to people who are going through a loss. It's a movie about how we grieve, and about how grief itself can become a demon to us. How do you deal with the unimaginable? It's a road we have to walk alone, when it comes. I think David and Angela have made a movie that will help." In addition to this film, he is in "Painkiller," which releases later this year. This spring, on Amazon, see him as a vampire in "Age of the Living Dead." He also signed up to play Adolf Hitler in a WWII drama later this year or next. In addition, he is playing a bishop on a film shooting next month, and just wrapped a commercial for Bitcoin, as well as working on his next season of his podcast "Gothic Goodnight." "The Parish" is now avail abl e on VOD and Amazon. For more inf o., visit www.f acebook.com/ t heparishmovie. 8
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The 2021 LDUB Documentary Film Festival will take place in front of live audiences May 1 & 2, 2021 at t he St onzek St udio of t he Lake Wort h Pl ayhouse, l ocat ed at 713 Lake Ave., in Lake Wort h, FL. Masks, temperature check, theater disinfecting and all current mandated health requirements observed.
10 t h Annual LDUB Film Fest ival accept ing submissions Now in its 10th year the LDUB Film Festival remains LIVE but has some alterations. As things have changed with the pandemic, so has their format. They will focus the festival on documentaries instead of all genres. They have reduced the festival to just two days of screenings, eliminating meet and greets, parties and award ceremonies. Right now, they are still accepting entries. Students are encouraged to submit their films. The student competition is open to students from elementary, middle school, high school, college, art or film school with a valid ID submitted on FilmFreeway with their movie. Past award-winning movies have included work by an 8-year-old 1st time filmmaker to titles that have gone on to Cannes and been shortlisted for the Oscars. Documentaries submitted can be any length and on any topic. They also can be from any age group. English subtitles will be required for documentaries not in English.
Pl ease rush your f il m submission as t ime is t icking. Visit ht t ps:/ / f il mf reeway.com/ LDUBFil mFest ival, submit your movie and join t hem at t he t heat er on Mayday.
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AWARDS & PRIZES Juried Awards Include: - Best Documentary Feature - Best Documentary Short - Best Student Documentary Others To Be Announced
RULES & TERMS Submission Deadlines: April 15, 2021 ? FINAL SUBMISSION April 20, 2021 ? NOTIFICATION OF ACCEPTANCE
ENTRY FEE Films 30 minutes or less TRT (Short) require a $30 entry fee. Films longer than 30 minutes TRT (feature) require a $40 entry fee. Student Films (copy of valid student ID required): short $10 / feature $20
For more inf ormat ion, visit www.l akewort hpl ayhouse.org/ wel come/ l dub/
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Film Review: "The Courier" By Rachel Gal vin As the Cuban Missle crisis ramps up, Grenville Wynne, an unassuming English salesman played by Bernadict Cumberbatch, has been recruited by MI6 and a beautiful CIA operative (Rachel Brosnahan,known for playing Midge in ?The Marvelous Mrs. Maisel?) to get into the spy game. His mission is to do business as usual but Merab Ninidze & Bernadict Cumberbat ch. Phot o by Liam over in Russia. While Daniel . Court esy of Lionsgat e and Roadside At t ract ions. there, he is to meet up with Oleg Penkovsky (Merab Ninidze), who will surreptiously slip him some top secret documents that he is to transport back to England. The goal is for England and the U.S. to get a better grip on Kruschev's plans before the crisis reaches a breaking point. The film is filled with quiet intrigue. The acting from the leading men showcases the fear both men must have felt but they keep it internal, except when it explodes at the end for Cumberbatch, who deserves great praise for going all out in this performance (something not unexpected from this accomplished actor). The movie is beautifully filmed; the locations, lighting, music, etc. adding much to exemplify the mood in this period piece. Originally, it was released at Sundance in 2020 under the name ?Ironbark? and had an August 28 release date, which was obviously pushed forward due to COVID-19. The rel ease is now set f or March 19 under ?The Courier.? This is a true story. These two gentlemen ended up changing the world and they brought more than 5000 such documents out of the USSR. Now, there is a hotline set up between the U.S. and Russia so that, hopefully, a crisis such as this will never happen again. 10
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Acad em y of M ot i on Pi ct u r es An n ou n ces Pr ogr am s Com i n g Soon On March 10, The Academy Museum of Motion Pictures in Los Angeles announced a slate of programs it will offer to the public beginning Sept . 30, 2021, when it wil l cel ebrat e it s grand opening. Leading up to the opening, the Academy Museum has planned a series of virt ual programs kicking of f in April 2021 around the Oscars® . Panel discussions with film industry leaders, gallery tours, screenings, workshops, and educational offerings for families and students will illuminate the world of the movies to people of all ages, backgrounds, and areas of interest. The reach of programs will be extended worldwide through the Academy Museum?s website and social media channels. Jacqueline Stewart, Chief Artistic and Programming officer of the Academy Museum, said, ?We have been hard at work preparing the Academy Museum and are ready to welcome visitors first virtually and then in person in September. The programs we are rolling out for our opening are dynamic, diverse, and deeply grounded in the history and artistry of filmmaking. Whether they are recognizing Hollywood legends, delving into the working process of film professionals, or addressing issues of race, gender, sexuality and inequity that run through film history, these programs will use the power of movies and stories of filmmakers to open eyes and minds.? Bill Kramer, director and president of the Academy Museum, said, ?Developed in partnership with incredible Academy members, our slate of virtual programs is designed to complement our compelling and engaging core and temporary exhibitions. When we open, our programs will also come to life in our theaters and in our public spaces to deepen the visitor experience. Our screenings, panels, symposia, and educational programs are key components of how our visitors will interact with the museum and learn about filmmaking.?
PRE-OPENING PROGRAMS Around the time of the 93rd Academy Awards® , to be presented on April 25, 2021, the Academy Museum will launch a series of virtual conversations, screenings, and education programs on the Academy Museum website. Conceived as digital prologues to the Academy Museum?s core exhibition, Stories of Cinema, these programs will share the varied voices of extraordinary film artists, tell the stories of their 11 inspirations and collaborations, and explore the art, technology,
history and social impact of the movies. Pre-opening programming will kick off on April 22, 2021 with Breaking the Oscars® Ceiling, a conversation hosted by Academy Museum trustee Diane von Furstenberg and moderated by the Academy Museum?s Jacqueline Stewart, who Dorot hy's red sl ippers in t he "Wizard of Oz" will be speaking with women who achieved historic Oscars milestones. Guests include actor Sophia Loren, actor and comedian Whoopi Goldberg, actor Marlee Matlin and singer-songwriter Buffy Sainte-Marie. Also launching on April 22, the museum?s website will be activated with thoughtful historic content on the Oscars and Hollywood: the Academy Awards History Timeline, an interactive timeline that previews and expands on the Academy Museum?s gallery of Academy Awards History and Hollywood Past and Present, a virtual tour of Oscars-related locations with vintage and contemporary photographs of key locations. Additional pre-opening virtual programs will include the following (times and dates TBA):
Fil m Screenings and Conversat ions wit h t he Art ist s Screenings are available in the United States at this time; the subsequent conversations are available worldwide. -
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Pariah (2011), the cast and crew of this groundbreaking fiction debut of writer/ director Dee Rees reunite to discuss the conception, production and impact of this coming-of-age story. Y tu mamá también (2001), a celebration of the creative partnership between three-time Oscar-winning cinematographer Emmanuel ?Chivo? Lubezki and four-time Oscar-winning writer-director Alfonso Cuaron (this event will be in Spanish with English subtitles).
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Spike Lee, a virtual conversation with the trailblazing writer-director, exploring how Lee?s vast personal collection represents his many cinematic muses in the museum?s Director?s Inspiration gallery. Hil dur Guðnadót t ir, a virtual conversation between the Oscar-winning musician and composer ("Joker," 2019) and Academy Museum
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Exhibitions Curator Jenny He, discussing Guðnadóttir?s work and her approach to designing the museum?s Composer?s Inspiration gallery. Act ivism and Fil m, an in-depth conversation on the intersections between filmmaking and social change, featuring drop-in guests and previewing the Academy Museum?s Impact/ Reflection gallery.
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How t o Use Fil m as a Teaching Tool t o Have Dif f icul t Conversat ions, a series of workshops for educators and caregivers. The Work of Bl ack VFX Art ist s, celebrating the accomplishments of six visual effects professionals in a candid discussion about perseverance and the shared experiences of Black film artists in the industry. Offering unprecedented access into their creative process via break-out sessions with visual effects professionals Lyndon Barrois, Lauren Ellis, Audrea Topps-Harjo, Greg Anderson, Andrew Roberts and Corey Turner. Hayao Miyazaki Famil y Day, introducing families to the world of Hayao Miyazaki?s films through a day of events including art-making workshops and live performances. Academy Museum family day programs are made possible in part by a grant from the City of Los Angeles Department of Cultural Affairs.
OPENING PROGRAMS When the Academy Museum opens September 30, 2021, it will begin presenting a robust range of screenings, in-depth conversations, and programs for youth and families. Visitors will be welcomed with a slate of film screenings that celebrate cinema?s rich past, present and future. Presented in the Academy Museum?s two theaters ? 1,000-seat David Geffen Theater and
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288-seat Ted Mann Theater ? viewers will enjoy films as intended with state-of-the-art sound and projection in multiple film and digital formats. The museum will present film series including in these categories: Branch Sel ect s, selected by each of the Academy?s 17 branches that represent meaningful breakthroughs in the evolution of their craft. Exhibit ion-inspired series expanding on the themes, films, and filmmakers in the museum?s galleries. For the museum?s inaugural temporary exhibition, Hayao Miyazaki, the museum will present all of Miyazaki?s features in both Japanese with English subtitles and with English dubbing, as well as additional series exploring the worlds, ideas and stories created by this master filmmaker. Oscar Sundays, screenings of Oscar-nominated and -winning films, as well as a behind the scenes look inside the Academy and the Academy Awards. Fil mmakers?Inspirat ion, expanding upon the gallery spaces curated by film artists Pedro Almodóvar, Hildur Guðnadóttir and Spike Lee with films they select highlighting their own works and films that have influenced them. Preservat ion Spot l ight s, showcasing recently preserved films from archives around the world Ret rospect ives offering expansive surveys of a filmmaker?s body of work. Their inaugural year will include retrospectives on a range of film artists from Indian writer/ director Satyajit Ray, Ethiopian-born writer/ director/ teacher Haile Gerima, Austrian exiles who helped shape much of the Golden Age of Hollywood, and actress and icon Anna May Wong. 13 Short s in t he Gef f en, daily screenings celebrating the creativity
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of short-form filmmaking ? live-action, documentary, and animated ? in the David Geffen Theater during regular museum hours. Additionally, the museum will present conversations, panels, symposia and lectures several times a month in their theaters Legacy, inviting family members of Hollywood legends to discuss the legacy of film artists and provide first-hand insights into film history. Impact / Ref l ect ion, featuring film artists in conversation with scholars and activists about the relationship between documentary and narrative film and topics presented in the museum?s Impact/ Reflection galleries in Stories of Cinema, such as # MeToo, pay equity, Black Lives Matter, climate change and labor relations. The Art s and Sciences of Cinema, providing information and context about breakthrough scientific and technical achievements in filmmaking, featuring figures who have made major contributions to their fields. In Conversat ion Series, with profiles of film artists, celebrations of the anniversaries of significant films, discussions in which film artists speak with people who have been their inspirations and influences, and more. Cont ext ual izing Cinema, where Academy members and scholars unpack challenging topics in film history ? such as racialized makeup, degrading depictions of Indigenous peoples, and racism in animation ? with the aim of increasing empathy and knowledge. Object Acquisit ions, inviting audiences to follow the journey into the Academy Museum of iconic objects such as the ?Bruce the Shark? model from Jaws (1975) and the ruby red slippers from The Wizard of Oz (1939). Hayao Miyazaki, linked to the Academy Museum?s first temporary exhibition, Hayao Miyazaki, unpacking themes St ripe f rom "Greml ins"
activities, demonstrations, and performances. School t ours will be offered twice a week, at no cost and with the expense of bus travel reimbursed. Advance registration is required and will become available in the summer. In addition, visitors will be able to join themed, interactive 45-minut e guided t ours throughout the week. On weekends, multiple 15-minute Gal l ery Highl ight s will encourage a deeper understanding of focal points in the museum?s content while engaging visitors in conversation. Guided tours and Gallery Highlights will be free with museum admission, and f ree audio t ours will also be available in English, Spanish, and Korean. More details on the Academy Museums Inaugural programs TBA. For more info., visit www.academymuseum.org.
They even wil l have t he shark f rom "Jaws" on displ ay.
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in his films including environmentalism, female empowerment, post-war society, and Japanese spirituality and culture. Educat ion and f amil y programs will be ongoing at the Academy Museum, provided both in the exhibition galleries and in the Shirley Temple Education Studio: Teen programs, made for teens, by teens, the Academy Museum will engage with local teenagers to create workshops and events. Famil y st udio act ivit ies will follow f amil y mat inee screenings on weekends and will be facilitated by Teaching Artists, with Academy members dropping in as guest teachers. Participants will gain hands-on experience with filmmaking processes and technologies while enjoying informal, play-based learning. Free Monthly Quiet Mornings, held on weekends before regular public hours, will give young people with sensory processing disorders and their families or caregivers an opportunity to experience the museum with no crowds, lower sound levels, and moderated lighting contrasts. Participants will join a facilitated accommodative tour, followed by a workshop in the Education Studio. Seasonal f amil y/ communit y days will provide programs on all floors throughout the day, including tours, Education Studio
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Spotlight: "ALaCalle" By Rachel Gal vin ?Are we living in a dictatorship or a democracy?? The powerful documentary ?A La Calle,? which was just shown at the Miami Film Festival, ponders that question in relation to the situation that has taken place in Venezuela. Once one of the wealthiest countries in Latin America, now the country has undergone economic collapse. People are hungry. Violence has increased as people are increasingly desperate. This has led to mass emigration and repression of those who choose to speak out about what is happening. Some blame it on Hugo Chávez Frías, the former leader of the country. Many blame the man who succeeded him after he died, his right hand man and VP, Nicolás Maduro. The documentary, created by Nelson G. Navarrete and Maxx Caicedo from 2014 to 2019, goes step by step through what has happened to the country and features some of the people who were punished for standing against what was happening. Navarete said, "When Maxx and I began making this documentary, we envisioned a film focusing on the issues that lie beyond the political divisions in Venezuela. Believing that first-person accounts are the most powerful, we chose to depict life in today?s Venezuela through the daily experience of its people, including 15 Leopoldo López, a former political
prisoner still under surveillance; Nixon Leal, a man constantly followed by the secret police under the presumption that he is a terrorist; and Randal Blanco, a city worker and part-time barber struggling to keep his family fed." He added, "While it was difficult and dangerous to film, their fight and that of so many other courageous Venezuelans inspired us to persevere. As they put their lives on the line in a bold struggle for freedom, we battled to document their obstacles, their victories and their determination. "We hope this film will allow the world to see and feel the risks they have taken and the punishments they have endured while trying to reclaim their country." He added, "This is a crucial moment for Venezuela and for Latin America. So many of us have been forced to leave a country we love because a few people decided to undermine the democratic values we have held for decades, as well as the basic needs of the majority of Venezuelans. "Instead of wondering who the bad guys are, we ask you to listen to what ordinary people are asking for: the right to determine our own future. Because of this project, I may never be able to go home again. I could be subjected to torture and
sentenced to prison simply for sharing my opinion. But like thousands of others, I have made the decision to raise my voice and use this opportunity to bring awareness. I believe that if everyone contributes with their grain of sand, change can and will happen in Venezuela and around the world." Caicedo added, "Citizens born into a democratic society often believe the rise of authoritarianism is both swift and dramatic. In reality, the loss of democratic freedoms is usually a gradual process, and once a dictatorship has taken root the path toward restoring democracy is murky and rarely navigated successfully. With the rise of autocracy around the world ... the central questions of our documentary could not be more urgent: How does dictatorship come to replace democracy? When democracy is threatened, what recourse do individual citizens have?" He added, "A level of desperation that drives people to abandon their own country is evidence of a grave situation. To protect ourselves from similar threats it is important to act preemptively, perhaps before there is absolute certainty of the right course of action. Nixon and Leopoldo are leaders who value democratic ideals ? citizens?right to determine their own future ? and have acted on those beliefs. For that, they have sacrificed almost everything." Filming the story was no easy feat. Being in the streets during riots meant they could get hurt, arrested, threatened, have their stuff stolen or worse. ?Not surprisingly, given the brutal tactics of the government, many people were afraid to be interviewed on camera. So the filmmakers cast a wide net, speaking to Venezuelans from all walks of life," said Navarette. Caicedo and Navarrete made the difficult decision to stay in the U.S. and supervise filming remotely. But finding people able and willing to film who were still in the country was challenging, said Caicedo. ?Nelson has a very strong network within Venezuela, but many people have left. Eventually, he was able to find shooters willing to put themselves in very risky situations that could have led to their long-term incarceration or even death.? In fact, one of their most capable cinematographers was arrested while getting footage of propaganda posters in Caracas. ?He was supposed to shoot for four days, but after the first one, a Toyota Corolla with black windows pulled up next to him. A group of hooded guys with semi-automatic rifles put him in the car and took him to a political prison," said Navarette, adding that the men knew the cinematographer's name, meaning they had a leak somewhere.
Opposit ion l eader and pol it ical prisoner Leopol do Lopez t aken int o cust ody by Nat ional Guard in Caracas, Venezuel a, 2014. Reut ers Images/ Jorge Sil va
They somehow still were able to get the footage they needed despite the difficulties, but getting it out of the country was a whole other issue. ?The internet in Venezuela is really slow, so we couldn?t count on transferring files,? explained Navarrete. ?We decided to shoot f or about three months at a time, collect a terabyte or so of material, back it up onto two hard drives, and physically bring it out.? Next step was who would do it... the filmmakers or others not connected to the project, and if they chose new people... how much could they trust them to take compromising footage out safely? "We had to reach pretty far out in our network to find people who were willing to take that risk. Sometimes, we?d wait months before we could get footage out because we needed to find the right person," said Navarette. Despite the dangers, the team persevered and made the film happen. They are getting the word out to the world, but the crisis in Venezuela is on-going. In 2019, the filmmakers worked to capture the country's new president-elect Juan Guaidó launch "Operation Freedom" to remove Maduro from the office he refused to relinquish. But, despite the movement's popularity, it failed and those involved in it went into hiding, according to their press release. ?The question from the beginning was how do we grapple with 16
cautionary tale with global significance. ?It takes no time for a democratically elected ruler to become a totalitarian oppressor if we don?t stop it. It is our duty as citizens to look out for our generation, for future generations, and also for other countries. If it could happen in Venezuela, it can happen anywhere. The world needs to just not allow it.
Int erim president of Venezuel a Juan Guaido ral l ies opposit ion support ers around humanit arian aide get t ing int o t he count ry (2019). Court esy of Priorit y Pict ures/ Andres Avel l aneda Zeit er
what could be an unending situation,? says Caicedo. ?We can?t know at what point the struggle of Venezuela ends, or which side will prevail. We?ve framed our narrative in the stories of each of our protagonists. As their understanding of their journey changes, the film becomes more character-driven and less event-driven, and the narrative arc revolves around their goals.? Caicedo hopes the film will help viewers understand that what the people in the country are going through is not about socialism versus capitalism or left versus right. ?It never has been that. What?s going on there is criminal,? he said. ?It?s about whether or not people get to determine their own futures. It?s about media censorship and freedom of information. It?s about people having their basic human rights and needs denied.? Navarrete hopes moviegoers come away with a sense of how much his country has lost. ?We don?t have any rights of speech. We don?t have any rights of freedom to choose. There?s no food. There?s no medicine. There?s no future for the youth. Millions of lives are being destroyed. Regardless of your political standpoint, the human suffering involved is substantial. And the only way to move the needle on this is if there?s pressure from everyone around the world on an individual level. Speaking to local representatives and donating money to the cause can help resolve the crisis over there.? Although this on-going crisis may seem a world away to those 17 who see the film in America, Navarrete notes that "A La Calle" is a
MORE ABOUT THE PRODUCTION In 2013, Navarrete and Caicedo, and their partner Marcus Cheek, had just founded Vitamin Productions when producer Greg Little approached them with an idea for a documentary that perfectly fit Vitamin?s mandate to tell stories of underrepresented communities. Little, whose credits include "Momentum Generation" and "The Stanford Prison Experiment," was looking for a director/ s with a
unique set of skills for a documentary about Venezuelan opposition leader Leopoldo López and his struggle to restore democracy to his country and defeat the repressive regime of President Nicolás Maduro. Little was shocked when a relative of López told him of the politician?s journey from respected party leader to accused enemy of the state and of the political turmoil that was destroying her home country. ?I had no real knowledge of what was happening in Venezuela,? Little recalled.
Nixon Leal Toro speaks t o crowd. Court esy of Priorit y Pict ures/ David Mosquera
?Once I dove into it, I thought, why isn?t this story being told? Why isn?t the collapse of an important democracy, of the willful destruction of its economy and its freedoms, of one of the worst humanitarian crises in recent history, in the headlines every day? Where is the media? It?s an untold story the world needs to hear.? After meeting with a number of directors, he was introduced to Caicedo and Navarrete and immediately knew he had found the right people. ?Maxx and Nelson checked all the boxes for me,? he said. ?To start, Nelson was born in Venezuela, so this project had a strong emotional appeal for him. He had worked as a director in Venezuela and had many connections there that were willing to help us. They both speak Spanish. And they were both very enthusiastic about making a film that would bring this struggle the attention it warrants.? Navarrete had returned to his native country after film school to work as a director of music videos and commercials. ?I am always attracted to stories about Venezuela,? he said. ?I knew there needed to be a movie about the current situation, but I never thought that I
would be the one doing it.? His firsthand knowledge of the country?s resources and its challenges would prove essential to the project. ?Venezuela is a very dangerous place right now,? said Navarrete. ?It is really hard to get anything done. Filming in the street is dangerous ? you can get robbed or you can get taken to jail for political reasons. We agreed to do it before we even knew how we would pull it off.? Caicedo, who studied creative writing and political science, was drawn to the story?s wider significance outside the borders of Venezuela. He saw an opportunity to explore the ways in which democracy is being undermined around the world. ?There are a number of countries whose democratic institutions are being co-opted by extremist regimes or demagogues with a cult of personality,? he explained. ?For example, in Turkey, civil rights are gradually being limited and the media censored. It doesn?t happen in a day. It isn?t always a military coup. Sometimes after years or even decades of chipping away at basic rights, you suddenly realize you?re living in a country that is no longer free and you have no more power. That is what has happened in Venezuela.?
For more information, visit www.alacallefilm.com.
Lil ian Tint ori, wif e of Leopol do Lopez and human right s act ivist , raises awareness during her husband's pol it ical imprisonment . Court esy of Priorit y Pict ures/ David Mosquera
Top: Nel son Navaret e, bot t om: Maxx Caicedo. Court esy of Priorit y Pict ures/ Miguel ?Gara?Ál varez
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Spot light : Talk ing w it h Lou Simon about "Agor aphobia" By Rachel Gal vin
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The 2015 film "Agoraphobia" finally saw its release this year after a lengthy legal battle. Director Lou Simón explains, "We had canceled our contract with the original distributor and had regained our rights to the film. Unfortunately, the cancellation was not relayed to the different outlets and the release happened anyway. After trying to negotiate a proper release without avail, we had to file a lawsuit in federal. It took four long years until we were able to settle amicably during a mediation." So, now, you can rent t his f il m on Amazon.com. It 's al so on t he Binge Horror channel on RokuTV, and wil l be avaiabl e t o st ream f or f ree on TubiTV wit hin a coupl e of weeks, said Simón. The film showcases a bit of gore in the beginning but, by using quick cuts, lighting and splashes of blood, the gore factor stops from going over the top and gets the point across without needing to show too much. It also has the desired effect of already setting up an air of mystery, which is present throughout. The rest of the film is more of a slow burn as the audience is left to figure out exactly what is going on. The plot follows Faye, a woman with Agoraphobia. Although we are never told why she has the affliction exactly, it does not really matter. It just serves as an important backdrop to everything else that is unfolding. Neglected as a child, hidden away in a boarding school with a mother who abandoned her and a father who neglected her and now has passed away, she has every reason to be disappointed with her life. But it is more than that... she is terrified... of going outside. Her dad's girlfriend, played by Julie Kendall, is hassling her. Her husband Tom (Adam Brudnicki) is unsure what to do. She has her therapist, Dr. Murphy, played by Tony Todd (whose breathy speaking voice always has a creepy factor -- in a good way) work on talking her off the ledge, so to speak. Her aunt Margie, played by well-known in horror film actress Maria Olsen, listens intently ... and then drinks. Her friend
Stephanie (played by local actress Aniela McGuiness, a Lou Simón film favorite)... comforts her. She even has a therapy cat of sorts which she names Hamlet (a bit of foreshadowing... hmmm). Yes, this does turn into a bit of a ghost tale... or does it...? Is it spirits from the netherworld coming to haunt her or is the plot more terrestrial? Is there a red herring in the mix or is that character really part of the deeper plot at play? There are several twists in the film. It is suspenseful to be sure. Lou Simón, Phot o by Juan Art igas Simón said she came up with the idea for the movie while driving down to The Keys, which are featured from a drone shot in the opening of the film. She explained, "I had the idea during a trip to The Keys. I saw all the pretty houses on the drive down and thought, 'What a pity if you lived there but couldn't really enjoy the outdoors.' That started my mind rolling and, after a few days, I'd written the script. Funny story, this [drone shot was filmed] before drones became as popular as they are now. Someone called the police on us, and we had to stop filming." Asked how she obtained her cast, she said, "The casting was done primarily by my producing partner, Tara Cardinal. She knew Tony Todd personally so she could pitch the film to him. She was also friends with Maria and suggested her for the role. Cassie is a South Florida native, so we were able to approach her with the idea that she could come home to visit her family while she made a film." Regarding the cat, Katty, known as Hamlet in the film...? It turns
out the cat belonged to Simón, who said, "Katty was my cat at the time. He was always such a ham around people that I thought he'd be a natural. He actually hated it. He has since passed so I won't lie that it hurts to watch the scenes he is in. Our fur babies are like family. We never stop missing them." The filming, she said took 15 days utilizing three different locations. The main location shown in the film, Faye's dad's house, is a big place with high ceilings and plenty of windows. Asked what it was like to capture sound in that large of a space with tile floors bouncing off the sound, she said, it was a challenge. "Michael Damon, who did our sound editing, made miracles happen with the sound we got from the lavs, but the echo was a bit of a nightmare. Thankfully, it worked out okay," she said. When it comes to directing, Simón said she is very hands-on with the actors. "I don't care if they ad lib the lines as long as the meaning is the same, but how they say them is very important to me," said Simon. One of the elements that really made the movie work were the special effects and the makeup. "The makeup was done by Tiffany Alonso, who is such a talented special fx makeup. The VFX were done by three different people to different extent: Rene Quesada, Jeff Burdett and Stacey Palmer," she said. Simón has made quite a name for herself in the horror genre, with
films like "Hazmat," "3," "All Girls' Weekend" and others under her belt. Look for "73 Minutes" coming soon, and she has other films in the works. She said, "It's so important that everyone support independent filmmakers." For more information on "Agoraphobia," visit www.amazon.com/ Agoraphobia-Tony-Todd/ dp/ B08MWJHD7J/
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Aniel a McGuiness & Cassandra Scerbo
Cast & Cr ew on set
Tony Todd & Cassandra Scerbo
Cassandra Scerbo & Maria Ol sen
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Aniel a McGuiness, (direct or) Lou Simón & Adam Brudnicki prepare f or scene.
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