Martin McDonagh gives
PSYCHOPATHS
a bad name
table of
contents 2
Anna Karenina
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The Perks of Being a Wallflower
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Smashed
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The Words
Director: Joe Wright
Director: Stephen Chbosky
Writer & Director: James Ponsoldt
Writer & Director: Brian Klugman and Lee Sternthal
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End of Watch
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Branded
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Seven Psychopaths
16
Celeste and Jesse Forever
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Film Previews
Writer & Director: David Ayer
Writer & Director: Jamie Bradshaw and Alexander Doulerain
Director: Martin McDonagh
Director: Lee Toland Krieger
A look at 38 upcoming releases
Anna Karenina
Branded
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Film Guide Senior Staff Publisher
Jonathan Douglas Creative Director
Rodney Griffin Designer
Rona Moss Corporate Editor
Irene Gillaspy Advertising and Promotions
email: jdouglas@ regalcinemas.com
Seven Psychopaths
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Celeste and Jesse Forever
The Regal Cinema Art Film Guide is a free national publication courtesy of Regal Entertainment Group, 7132 Regal Lane, Knoxville, TN 37918. To have your film featured, email jdouglas@regalcinemas.com.
The producers’ call went out to Adam Richards to scout and secure locations from Britain’s vast Salisbury Plain to the manicured maze of the U.K.’s Hatfield House to Kizhi, a remote island in Russia. Anna Karenina was an epic production filmed over the course of 12 weeks on 100 different sets, across 240 scenes, with 83 speaking parts. More so than before, it was imperative that the team’s latest production ran as a well-oiled machine. To “An epic production filmed directed by Joe Wright
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hen gearing up to make a movie, director Joe Wright is known for his intense preparation work. The filmmaker actively collaborates with many of the same talented craftspeople and actors from movie to movie, which creates a familiarity and the feeling of a company of players—an important personal and professional link to the world of theatre he grew up in with his own family. For Wright, this familiarity is a vital part of his filmmaking process. He reveals, “I find the whole process of making a film totally terrifying and so to have the support of people I feel loved and accepted by is really important. These are also people I trust in terms of their creative and artistic sensibilities.” So it is that Anna Karenina marks Wright's fourth movie with Focus Features, his fourth with Working Title Films producers Tim Bevan and Eric Fellner, his third with producer Paul Webster, and his third with leading lady Keira Knightley. This established creative team of Academy Award® nominees works collectively alongside the director to bring his vision to the screen. Part and parcel of the team effort are Wright's permanent production designer Sarah Greenwood and set decorator Katie Spencer, his regular costume designer Jacqueline Durran, his frequent hair and makeup designer Ivana Primorac, his film editor Melanie Ann Oliver, composer Dario Marianell, who won an Oscar® for Atonement, and cinematographer Seamus McGarvey, who was Oscar®-nominated for Atonement. Given the preparation period, the brainstorming commences early and often. As with Atonement, Marianelli composed much of the music in pre-production, which in turn allowed the movie’s integral and thrilling choreography to be rehearsed and fully imagined by Sidi Larbi Cherkaoui prior to filming.
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over the course of 12 weeks on 100 different sets, across 240 scenes, with 83 speaking parts.” supplement the meticulous research that Wright personally carries out, he actively encourages his cast and crew to do the same—and to bring their ideas to the table. As producer Paul Webster says, “Joe immerses himself in visual and literary research and takes his team along for the ride with everyone spending a lot of time researching and understanding the world that they are entering into to tell the story.”
With the actors, Wright embarked on an intense cast rehearsal period of several weeks. For Anna Karenina, beyond character development and interacting with their fellow cast members, the actors were educated about Russian cultural life of the time through research presentations and discussions to help their understanding of the world their individual characters existed within. These included a seminar with British historian
Orlando Figes, whose book “Natasha’s Dance: A Cultural History of Russia”was a key point of reference.
In addition, cast members worked with a dialect coach. Some were required to learn physical skills, such as the riding of horses and how to handle weapons. With their director and choreographer, they developed not only the dance sequences but also their individual character movements. With choreography being a vital element to the film’s presentation, professional dancers appear throughout Anna Karenina in a variety of different guises. These varied from aristocrats at a ball and a soiree, to servants and waitstaff, to exotic dancers at a decadent French boîte, to clerks in an office.
Every piece of preparation would contribute to a greater understanding of the story Wright wanted to tell. When the actors finally set foot on location, they did so with a familiarity not only for their characters but also for the people and society that surrounded their characters. Strengthening this feeling for actors and crew alike, they were joined by hundreds of Russians based in the U.K. who had been handpicked as extras through an open casting call. Wright remembers, “Prior to shooting, we put notices in the Russian-speaking newspapers saying we were making Anna Karenina and were looking for Russian-speaking people to come and be in the film as extras. We thought maybe 200-300 people might turn up. When we arrived on the Saturday morning for the open casting, the line was twice ‘round the block. We met over 1,000 people that day and talked with each one individually. They were just extraordinary and wonderful and a lot of fun. So the film is in fact filled with Russians and there are a lot of big set pieces with vast numbers of people. They were brilliant because they gave it an authenticity that helped us in making our movie.” Focus Features releases Anna Karenina in theaters this November. Click here to watch the official movie trailer.
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Charlie (Logan Lerman)—A bright and sensitive 15-year-old, Charlie starts high school emotionally devastated by the suicide of his best friend and afraid he will be an outsider forever. Solitary by nature, he loves literature but is reluctant to reveal how intelligent he really is. Hyperaware of his feelings—and everyone else’s—Charlie finds refuge with a quirky group of artistic rebels who help him navigate through the exciting “firsts” of adolescence. He also finds a guiding figure, his English teacher (Paul Rudd), who tries to nurture the writing talent he recognizes in his gifted student.
B
ased on the best-selling novel by
Stephen Chbosky, The Perks Of Being A Wallflower is a modern classic that captures the dizzying highs and crushing lows of growing up. Starring Logan Lerman, Emma Watson and Ezra Miller, The Perks Of Being A Wallflower is a moving tale of love, loss, fear and hope—and the unforgettable friends that help us through life. screenplay by Stephen Chbosky, based on his book directed by Stephen Chbosky
Sam (Emma Watson)—A senior, Sam is one of the leaders of the high school’s creative “misfits.” She is always searching for the perfect song, the perfect boyfriend or the perfect moment, but her ebullient joie de vivre masks a deep well of sadness. Beautiful, intuitive and passionate, her insecurity traps her in a series of self-destructive relationships. When she and her stepbrother Patrick befriend Charlie, Sam becomes Charlie’s first crush, and his adoration and support inspire Sam to aspire higher and follow her dreams. Patrick (Ezra Miller)— Sam’s stepbrother, Patrick is flamboyantly fearless with a razor-sharp wit and a startlingly clear sense of who he is. Whether playing Dr. Frank-NFurter in a re-enactment of The Rocky Horror Picture Show or brazenly cheering on his footballplaying, closeted boyfriend, Patrick lives life out loud and encourages Charlie to do the same. But underneath the bravado, Patrick is also a vulnerable teenager who longs for acceptance, just like Charlie. Candace (Nina Dobrev)—Charlie’s older sister Candace seems to have it all together. She’s a pretty, popular senior with a devoted boyfriend and a circle of close friends, which makes her reluctant to be seen with her awkward little brother. But as Charlie begins to come into his own, Candace learns to accept, care and nurture him for who he is and is always there to support him.
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Mary Elizabeth (Mae Whitman)—Strong-willed and brilliant, Mary Elizabeth is also a member of Patrick and Sam’s inner circle of high school misfits. An “older woman” (a senior) who is charmed by Charlie’s wide-eyed naiveté, she insists on being his first girlfriend–—even though his heart clearly belongs to Sam.
Film Guide: Steven, why and when did you decide to make the book into a film? Or did someone approach you about this?
FG: Stephen, how does it make an author feel to know that something they wrote has impacted so many lives?
Stephen Chbosky: No one approached me. When I wrote the novel, I always knew I was going do it. It was a lifelong dream. It's amazing, because about 20 years ago I thought of the title “perks of being a wallflower” and now we’re all here to celebrate the opening of the movie. I’m very excited. FG: Logan, do you feel and identify with Charlie, or was this role a challenge for you?
Stephen Chbosky: It’s the greatest feeling in the world. I wrote the book on some level to let people know that they’re not alone. With every individual person who reads it and writes me letters, I realize the first person that's not alone is me. And then that dialogue continues and it’s continued for me for 12 years now. It’s pretty amazing to think of how young these guys (Logan, Emma, Ezra) were when I started writing the book. It’s pretty great.
Logan: I definitely do identify with Charlie. It was a weird, vulnerable place to get to in terms of shooting. It definitely wasn’t easy. But I do identify with him.
FG: Stephen, does the finished product of the movie convey the images in your head as you wrote the book?
FG: How did you get into the role for Charlie? Is there any special preparation you did?
Stephen: Exactly. Yes. I couldn’t have asked for a better DP in Andrew Dunn— the entire crew really. The way that everyone looked and embodied their characters was perfect. I was filming this one scene where Charlie remembers Christmas Eve on his street. And I literally shot it on my street growing up. And someone asked me ‘is it strange to do that?’ And I said ‘well, no because, when I wrote the novel it was exactly this: This is what I saw in my head’. The weird part is making 250 people do it. That was really weird. This is the most definitive version of the book I could have ever wanted.
Logan: Oh a ton. I don't know how to sum it up or talk about it, but yes there was definitely a lot of searching for those moments. Figuring it out. Some isolation was good. FG: Ezra and Emma, do you guys feel like you connected with the characters you portrayed in the movie? Emma Watson: I feel like I connected to Sam. I have moments, I’m going to call them moments, where I definitely feel a little more free-spirited. And in those moments, I am Sam and I related to troubles of the heart and how stressful dating can be. It was also nice to play someone who was discovering her own self-worth. Ezra Miller: Yes, everybody feels like nothing in high school. You are considered an outcast because you aren’t what is considered to be normal or standard. I think that's why Steve wrote the book. Everybody relates. I certainly related since I read the book at 14 years old.
FG: And is that what made you want to direct it? Stephen: It was too important to me and it was way too important to the fans. I’ve been receiving letters for over 12 years now, so it had to be right and it had to be authentic. And it is, that's exactly what it is. The Perks Of Being A Wallflower Exclusive Engagements Begin September 14.
Click here to watch the official movie trailer.
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ate (Mary Elizabeth Winstead) and Charlie (Aaron Paul) are a young married couple whose bond is built on a mutual love of music, laughter and drinking—especially the drinking. When Kate's drinking leads her to dangerous places and her job as an elementary school teacher is put into jeopardy, she decides to join AA and get sober. Sobriety isn't as easy as Kate had anticipated. She realizes she must face a difficult past, including a troubled relationship with her mother (Mary Kay Place), a party girl in her own right. To cover up a drinking-related incident that takes place in the classroom, Kate
fabricates a story to her employer, the school principal Patricia Barnes (Megan Mullally) who is overly nurturing and perhaps nosy. This lie soon balloons out of control and Kate is faced with many important choices she must make. Charlie, a music writer, whose carefree demeanor hasn't changed much since college, struggles to be supportive of Kate's new lifestyle. However, he doesn't quite grasp why she thinks she has a problem and he loves her very much the way she is, drunk and fun. His own juvenile tendencies are threatened by Kate's teetotaling, and when the party is taken out of the relationship both Kate and
Charlie question if their marriage is built on love or is just boozy diversion from adulthood. Kate finds new friendships through AA. One with her supportive sponsor Jenny (Octavia Spencer) and another with the vice principal at her school, Dave Davies (Nick Offerman). Davies, who at first comes off as well-meaning, though awkward and a bit nerdy, has a bizarre history of his own that led him to a life of recovery. Even with the support of AA and new friends like Jenny and Mr. Davies, Kate still feels very alone during the delicate and often scary early days of sobriety. Without Charlie's support their marriage suffers more, and both Kate and Charlie push each other away.
James Ponsoldt Talks about SMASHED Smashed began as a conversation between my co-writer Susan Burke and me. In addition to being a very funny person and talented writer, Susan is the owner of some of the most simultaneously upsetting and hilarious stories I’ve ever heard about dumb things she did while she was drunk. It’s no coincidence that Susan is now sober. Like a lot of the people closest to me who’ve had issues with substance abuse, Susan also knows a secret: Being drunk can be really fun. It’s just all the other things that come with being drunk that can be a downer (wrecking cars, lives, etc.).
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But Smashed isn’t primarily about alcohol or alcoholics. Smashed is a film about fidelity—and what it means to be committed to someone, to love someone, and to need to change your life—when your partner isn’t capable of change. So many films that deal with substance abuse follow a familiar “scared straight” path, depicting characters so damaged that they’re not relatable, leaving the audience with nothing to do but gawk at their otherness. Smashed is a love story between the main characters, Kate and Charlie, but also hopefully between the audience and the characters. I certainly adore Kate and Charlie. They’re flawed and misguided, and maybe they only work as a couple when they’re falling-down drunk, but I was committed to making a film in which the alcoholics appear lighthearted and are fun to hang out with. Perhaps your personal perspective on whether
they make a good couple will depend upon your own history of relationships with addicts).
imbued with the wisdom or common sense to have any clue how her life should be fixed).
Smashed also is a coming-of-age story for Kate, except she’s closer to 30 than 20, so I suppose it’s an adult coming-of-age story. But for a lot of my friends, adulthood seems to be more and more distant (have kids? Eh, maybe at 40. Regular job? Eh, maybe after I have kids).
In Smashed, the demons happen to be alcohol, but really that’s just part of the characters’ circumstances, like their age or where they live (late 20s and Highland Park in northeast Los Angeles). Part of becoming an adult means learning to stop blaming your personal history or genetic make-up or your partner for your problems. To be able to look at yourself in the mirror and—without a single pill or drop of alcohol—be able to say: “I love myself,” or “I like myself,” or at least, “I don’t want to kill myself” seems like a pretty decent first step before entering an adult relationship.
I’m not sure if people can really fundamentally change (and I guess that’s more a conversation for stoned college students), but I do know that films about people with problems attempting to change their lives—even if they’re unsuccessful or perhaps delusional —are some of my favorite stories. I love watching people try and fail. And try again. And fail worse. There’s something special and heroic and so, so human about seeing someone attempt to conquer her demons and fix her life (even if she’s isn’t necessarily
Smashed is a story about a young woman taking that first step, stumbling a bit—and seeing if her husband can join her on the journey. Click here to watch the official movie trailer.
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A
multilayered romantic
drama with an all-star cast, The Words centers on Rory Jansen, a talented writer with a beautiful wife and mounting internal and external pressure to achieve success. What he chooses to do in order to fulfill his ambition has the potential to cost him everything, and he soon finds himself repeating the mistakes of someone in the past. Now the worlds of two men living in different times threaten to converge as both are forced to confront the steep price that must be paid for placing ambition before love.
written & directed by Brian Klugman & Lee Sternthal
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FINDING THE WORDS The debut film from the writing/directing team of Brian Klugman and Lee Sternthal, The Words takes audiences on a journey that winds from post-war Paris to contemporary New York. Featuring a remarkable cast including Bradley Cooper (Limitless), Jeremy Irons (Margin Call), Dennis Quaid (Footloose), Olivia Wilde (TRON: Legacy), Zoë Saldana (Avatar), Ben Barnes (The Chronicles of Narnia series), Nora Arnezeder, Michael McKean, John Hannah, J.K. Simmons, Ron Rifkin and Željko Ivanek, The Words is a provocative romantic drama that explores the price of success, told through an intricate set of stories-within-stories, with insights and consequences that ripple throughout each of them. “We wrote the first draft eleven years ago,” recalls Klugman. He and Sternthal were working on another idea at the time. “I remember we were sitting in traffic, talking about Hemingway and how he lost some stories. It just kind of opened up Pandora’s Box. What would happen if you found those stories?” From that tantalizing question, Klugman and Sternthal began to spin the multi-layered nest of stories that would become The Words. “It developed organically,” notes Sternthal. “We wrote about 40 pages in one night.” What developed was the story of a struggling young writer, Rory Jansen, and his discovery of an incandescently powerful novel set in postwar Paris. A manuscript with no attribution, the find presents the ambitious but good-hearted Rory with a defining moral dilemma. As actress Zoë Saldana, who plays Rory’s wife Dora, describes it, “It’s not really fame that (Rory) wants, he just wants to be special. It’s not sad or crude, it’s just very honest. Deep down inside, all (anyone) wants is to be special in some way. That’s what made me gravitate towards this story – that raw reality of someone who just wants to do something great. How unfortunate would it be if God gave you love and passion for something, but didn’t give you the talent for it?” Almost unconsciously, Rory transcribes the manuscript – an act of devotion as much as theft. “I love the concept that Rory just wants to feel it flowing through his fingers,” says actress Olivia Wilde. “He transcribes this book because he wants to feel it flow through him, like a musician playing a song by their favorite artist. It’s not like he’s trying to violently rip something away from someone, he just wants to experience the feelings of it flowing through him. It’s so powerful.”
After Rory passes the book off as his own and consequently becomes a literary sensation, he finds himself shadowed by an ambiguous figure known only as The Old Man. When the two finally meet, a new story unfolds both outward and inward as The Old Man tells Rory a story of his own. Two impassioned yet strained love stories begin to shape—stories that appear to be on a somewhat parallel path. Simultaneously the main story pulls back to reveal an equally ambiguous figure, acclaimed novelist Clay Hammond. Clay’s public reading of his new novel to a rapt audience, and an intensely interested female graduate student, frames the central narrative. “We started with the story of The Old Man and Rory,” says Klugman. “The rest of the elements just started to fill in. It was interesting to see the results in the way that they layered themselves.” Though a layered work, Rory’s story is the central focus. Faced with the agonizing decision of admitting his plagiarism or continuing to live as a fraud, Rory makes a difficult choice. Klugman continues, “To me, Rory is such a sympathetic, tragic character. He’s infinitely relatable as someone who is constantly confronted by his own limitations, as someone who makes an impetuous choice and then has to suffer the consequences.” “I think (Rory) takes the harder choice,” opines Jeremy Irons, who plays The Old Man, “but it’s probably the right choice.” The Words dares to leave the audience with open questions. And like any multifaceted work, the film reveals as much about its viewer as it does about itself. The Words in select theatres this September.
Click here to watch the official movie trailer.
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Written and Directed by David Ayer
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n End of Watch, two ambitious L.A. police officers, Taylor (Jake Gyllenhaal) and Zavala (Michael Pena), are targeted for death after crossing a dangerous drug cartel.
perceive the job are not going be met in this movie. It's the reality of it. It's the boredom of it. It's how people connect, how cops connect to each other. So this is really about being let into a secret world.
Writer/Director David Ayer (Harsh Times, Training Day) and award-winning actor Jake Gyllenhaal were able to talk with us about their work on End of Watch.
FG: Tell us about your unique style of filmmaking.
Film Guide: Is End of Watch a love letter to police work? David Ayer: Police genre films weren’t getting made when I wrote Training Day, so it was a long shot from the start. But it had a unique twist going for it with the inclusion of a gangster cop—a corrupt cop. And that became a common theme in cop movies for a while. I’m really good friends with a lot of cops and a lot of guys in law enforcement. One of the things I realized is I felt like nobody had ever really told their story. And “their story” in the sense that the guys that go out there, they work hard, they do the job, they’re good guys. And you know I’ve said it before, that corrupt cops are more interesting. Well I think I’ve finally proved to myself that that’s not true. And I think I proved to other people that that’s not true. It’s how these guys face danger in the street but also have to go home and have a normal relationship. You see mayhem and carnage and you’re faced with these incredibly psychically destructive situations. Then you have to go home to your partner and connect, and be connected, and put work into a relationship. And somebody who can do that successfully, to me, is a fascinating person. So what I’ve done here is I’ve taken all the familiar tropes of the cop movie and inverted them. Because that’s what the real job is like. The expectations of how people have been trained to
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DA: I told this story in a pretty non-traditional way. It’s basically a simulated documentary. The idea is that these two cops go around with video cameras, document their lives, and then assemble this footage. I really wanted to create this sense of “we’re in a car with these guys. We’re on the streets with these guys.” When the gun comes up, it’s like a first-person shooter video game. And to see the world and how natural it feels through that perspective is just riveting. FG: Talk about the acting. What did Jake bring? DA: Jake has given me more time than he probably has for any other movie in his life. I had him for five months of total 100 percent dedication. He gave an extraordinary performance. FG: What do you hope audiences get from this movie? DA: I want people to know what it’s like to be a cop in South Central. I have a lot of friends in law enforcement. They’re great guys. Most of the time the public’s contact with people in law enforcement is in an official capacity. That’s when they’ve got to be that guy, and they’re writing you the ticket and telling you to pay the fine, but that’s not who they are. Behind the badge is a heart. Behind the badge are some really cool interesting people. That’s what I want the audience to take away. I want them to see the heart behind the badge.
FG: Tell us about the title End Of Watch and its significance. DA: When an officer finishes his shift he makes his log entries, but at the end of the watch when they’re done, the last thing they write is “EOW” and the time and they go home. But if an officer doesn’t make it home, that’s also called “end of watch.” If an officer is lost, they’ll record “end of watch” and then the date, and you’ll see that throughout various police facilities, especially throughout Southern California. In any given day, one of them, two of them, might not come back to the station. There’s something really powerful about that. They stay on watch and they walk the line and they enable us to sleep peacefully in our beds because they’re out in the streets protecting us. But it comes at a toll. And that's what this movie is about.
of the human soul. And he brings heart and that’s what makes this different than any other movie he’s ever written or directed. It’s got his huge beating bloody heart underneath it. FG: What does Michael Pena ˜ bring to the role of your patrol partner? JG: Mike’s my other half. I can’t do anything without him in this movie. He is an extraordinary actor and I have tremendous respect for him. End of Watch in theatres beginning September 21.
Click here to watch the official movie trailer.
Behind the badge is a heart. Behind the badge are some really cool interesting people. Film Guide: What was it about End of Watch that captured you when you read the script? Jake Gyllenhaal: I was initially just very moved by how quickly the pages turned. There’s a classic story structure to this movie but it's hidden beneath a fascinating type of storytelling we haven’t seen before. It was different than anything I had ever read. I thought to myself, if we succeeded in making it the same way that it read, then we could make an extraordinary film. FG: Talk about the unique storytelling technique in End of Watch? JG: Immediately I thought David Ayer had raised the stakes to the highest level. Not only is it a cop movie, but it is truly as if you’re watching two police officers at work. I knew that the stakes were going to be very high and there were going to be risks involved, but it was extraordinarily exciting. FG: Tell us a bit about what David Ayer brings to the film? JG: He brings the discipline to the movie. He brings a sense of sort of viciousness that is part
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Written and Directed by Jamie Bradshaw and Alexander Doulerain
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RANDED is a dark and mind-bending journey into a surreal, dystopian society
where mega-corporations have unleashed a monstrous global conspiracy to get inside our minds and keep the population deluded, dependent and passive. One man’s quest to unlock the truth behind the conspiracy will lead to an epic battle with the hidden forces that really control our world. Branded opens only in theatres September 7.
Click here to watch the official movie trailer.
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directed by Martin McDonagh
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artin McDonagh is an award-winning playwright and filmmaker. His new movie Seven Psychopaths is about a struggling screenwriter who inadvertently becomes entangled in the Los Angeles criminal underworld after his oddball friends kidnap a gangster’s prized Shih Tzu. The film stars an amazing cast including Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits and Olga Kurylenko. Martin recently took a seat in our shrink’s chaise lounge to talk about his work on Seven Psychopaths.
Q & A with director Martin McDonagh Film Guide: Many of our readers know that you’ve been writing amazing theater for over two decades now and that your work has won several Tony Awards® along the way. I wonder if you can describe the difference between writing successfully for stage versus film? Martin McDonagh: I think that with a film script, the size and scope is so much greater, you can jump around in time and space, you can have a dozen images in the space of half a page, you can have scenes that last only a couple of lines of dialogue, or have no dialogue at all. A play can often be told in just three or four long conversations, and sometimes in
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just a single room or set. So it took a while to get my head around the vastness of what can be achieved in a film script, but I think Seven Psychopaths is the least “play-like” of the films I’ve written. FG: I understand that you had Seven Psychopaths written before your award-winning movie In Bruges. Why did you decide to wait to make this film until now? MM: The logistics of In Bruges—three characters wandering around talking in a single “set” (Bruges itself) was something that as a first time filmmaker I thought I could get my head around without crapping myself. The scope of Seven Psychopaths on the other hand—stories within stories, parallel storylines, multiple characters and shootouts, etc., felt way too sizable for a cinematic dumbass like me to get his head around. After making In Bruges, though, I felt slightly less dumbass-y, so I thought I’d give it the old college try. FG: The town of Bruges was almost an additional character in your last film. Does the City of Los Angeles play a similar role in Seven Psychopaths? MM: That was the aim: to have Los Angeles and the Joshua Tree desert provide a similarly idiosyncratic backdrop. Trickier though, because Bruges had never really been seen before in a movie, whereas we see LA every week.
FG: Since this story is about a screenwriter, and one who specifically writes violent stuff while struggling with those elements personally, how much of you made it into the main character? MM: Aside from Colin’s stunning good looks and amazing physique, his character isn’t really like me
at all [laughs]. I guess there are enough similarities to raise the question, but enough dissimilarities to allow me to make that whole thing into a fun game of what’s truthful and what isn’t. FG: You clearly have a great relationship with Colin Farrell (who won his first Golden Globe® for In Bruges). How was it to work together again with Colin? MM: It was really lovely. On the first day of shooting it felt as if as if we’d just picked up where we left off on the last day of Bruges, even though it had been four years since that film. He’s an exceptionally fun, smart and supportive and kind person to work with. FG: In addition to working with Colin, you have Sam Rockwell, Christopher Walken, Woody Harrelson and Tom Waits involved. Tell us about the experience of directing all those fantastic actors. MM: Sam and Christopher I had worked with a couple of years ago on a play in New York. I hadn’t directed that play though, just written it, so this was a different kettle of fish. Sam is an extraordinary actor whom I had always wanted to work with on film, and he’s amazing in this. Chris was someone I had been a fan of since childhood, really, and never dreamed I’d get a chance to make a movie with him, so that was both thrilling and a little terrifying. He seemed such a scary character from a distance. He’s a wonderful man, though, and a
stunning actor. Tom Waits again I had been a fan of for a very long time, since Swordfishtrombones came out in ’81, I think so again it was a dream to get to work with such an inspiring talent. His care and attention to detail was amazing. Woody I had known for quite a few years. He’d been to see a lot of my Irish plays, and we almost worked together on a play called The Pillowman
a few years ago, so it almost seemed written in the stars that we would work together someday. FG: Now that Seven Psychopaths will be opening this fall, what’s next for you? Will you be working on another film or stage project? MM: I have a couple of film scripts ready to go, one with a very strong female character (the antithesis of Seven Psychopaths) but I’m quite lazy so I probably won’t get around to doing that for another 4 or 5 years. I’ll probably write a play or two before that happens, as they’re quite easy. It’s just people talking and stuff happening. And in English plays they don’t even bother about the second bit. Seven Psychopaths opens in select theatres this November.
Click here to watch the official movie trailer.
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directed by Lee Toland Krieger written by Rashida Jones and Will Mc C or mack
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eleste (Rashida Jones) and Jesse (Andy Samberg) met in high school, married young and are growing apart. Now thirty, Celeste is the driven owner of her own media consulting firm. Jesse is once again unemployed and in no particular rush to do anything with his life. Celeste is convinced that divorcing Jesse is the right thing to do—she is on her way up, he is on his way nowhere, and if they do it now instead of later, they can remain supportive friends. Jesse passively accepts this transition into friendship, even though he is still in love with Celeste. As the reality of their separation sets in, Celeste slowly and painfully realizes she has been cavalier about their relationship, and her decision, which once seemed mature and progressive, now seems impulsive and selfish. But her timing with Jesse is less than fortuitous. While navigating the turbulent changes in their lives and in their hearts, these two learn that in order to truly love someone, you may have to let them go.
Relationship Truth Behind Celeste & Jesse The romantic travails of smart, funny, attractive young people are always fodder for light-hearted comedy—except when the light hearts are countered by heartache. Celeste and Jesse Forever transforms the conventional romantic comedy with
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a bracingly honest real-life vibe, exploring both the comedy and complexity of love and friendship. “Will and I grew up with romantic comedies, but the ones we love are all about heartbreak,” says the luminous Rashida Jones, who co-wrote the screenplay with actor Will McCormack and also stars as Celeste. “We wanted to invert what everybody expects from this kind of story. Of course we’re all completely familiar with the archetypes and structures and story points of romantic comedy—so we wanted to flip it. To keep the humor and the audience’s emotional connection to it but get something new.” And Jones and McCormack are especially familiar with these archetypes and roles in these types of relationships as the two of them briefly dated in the late 90’s before realizing they were best suited as friends—and eventually as writing partners. In fact the two are laughingly frank about the real-life parallel between their own personal history and their collaborative screenplay. “As a couple we were shortlived and ancient history, but we knew we could be friends,” says Will, who nails the sidekick role of Skillz the pot dealer with comic skeeziness. “We wrote this whole movie side-by-side on one computer. We wrote every word together. Because we have been so close for so long, there was a real shorthand during the
writing process. And as new writers, we were very encouraging of each other.” Celeste and Jesse Forever is a first-time screenwriting effort for both actor-writers. As Will elaborates, “Celeste and Jesse are definitely more amplified versions of us. Celeste’s journey is interesting because she is someone who thinks she can outsmart heartache. That’s something that happens to other people. She does everything she can to avoid it.” Indeed, Celeste offers a twist on an archetype that movies love to scorn: the alpha woman. “Yup, Celeste is the high-powered career driver and Jesse is the passive guy who won’t grow up—all the makings of a cliché,” says Rashida. “But the balance between them
keeps shifting out of Celeste’s control, which kills her as a controller. When the reality of losing Jesse hits, she’s just blindsided.” Celeste’s ambitious striver is given more compassionate dimensionality than the alpha woman stereotype is usually afforded. Director Lee Toland Krieger remarks that “Even in 2012 you rarely see an ambitious Type A woman onscreen who’s more than a caricature. Rashida’s character can be tough and very serious about her career and also have a sweetness and sadness.” Krieger’s first feature, The Vicious Kind prepared him well for this material; “Just reading the script I understood that they didn’t want a fluff piece. They wanted a story about what heartbreak is really like. I was thinking Husbands and Wives and I could see how a lot of other filmmakers might be thinking of something broader. It’s maybe harder to take at times and a bit more gut-wrenching, but I think people will respond to that honesty.” “It was a really tricky tone to find,” Rashida points out. “There are so many turns in the
movie that are so hard and so quick, and it goes from being funny and broad to really sad and hopefully truthful—it needed somebody who got that range to find what the thread is.” Emotional truth notwithstanding, the goal is entertainment—hard to miss with the likes of SNL alum Andy Samberg as Jesse and an ensemble featuring Emma Roberts, Chris Messina, Elijah Wood and the rest of the supporting cast. So, echoing the film’s themes of love and friendship, a network of longtime relationships enlivens the Celeste and Jesse Forever cast and crew. “It was an absolute joy making this film,” says Krieger. “It was a very
collaborative set with a very positive vibe.” The joy must be especially rich for Rashida Jones, as the co-writer and title character, seeing her first screenwriting outing come to fruition. “Acting in a film that you wrote is a real privilege and a creative advantage,” she says. “As the writer, you know the genesis of the joke, the scene and the relationship. The process of making the film was extremely grass roots, which gave the movie an organic, lived-in feel.” “Ultimately we wanted to make a comedy about a broken heart,” concludes Will McCormack. “What it’s like to endure real heartbreak. How devastating it can be, how funny, and how you feel like the whole world is ending. But the world doesn’t end. You don’t die. And you do grow.”
Click here to watch the official movie trailer.
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ased on the groundbreaking video game franchise, Silent Hill: Revelation 3D is the sequel to the hit film Silent Hill, which opened number one at the U.S. box office and took in nearly $100 million at the worldwide box office. Featuring an unparalleled horror experience, Konami’s Silent Hill franchise has captivated fans for more than a decade and has spawned a hit comic book series, graphic novels, collectible action figures and numerous soundtracks from rock bands. In Silent Hill: Revelation 3D, Heather Mason (Adelaide Clemens) and her father (Sean Bean) have been on the run, always one step ahead of dangerous forces that she doesn't fully understand. On the eve of her 18th birthday, plagued by horrific nightmares and the disappearance of her father, Heather discovers she's not who she thinks she is. The revelation leads her deeper into a demonic world that threatens to trap her forever.
Click here to watch the official movie trailer.
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FIL M PREVIEWS
FILMPREVIEWS
a quick look at upcoming alternative & independent films
Click here to watch a collection of trailers from this section
AI WEIWEI: NEVER SORRY Director: Alison Klayman
Ai Weiwei is China's most famous international artist, and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have shut down his blog, beat him up, bulldozed his newly built studio and held him in secret detention. First-time director Alison Klayman gained unprecedented access to Ai while working as a journalist in China. Her detailed portrait provides a nuanced exploration of contemporary China and one of its most compelling public figures.
AMOUR
Director: Michael Haneke In Amour, Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple’s bond of love is severely tested.
THE AWAKENING Director: Nick Murphy
Set in post-World War I England in 1921, The Awakening follows a skeptical woman who travels to a countryside boarding school to investigate rumors of an apparent haunting. Just when she thinks she has debunked the ghost theory, she has a chilling spectral encounter that defies all her rational beliefs.
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FIL M PREVIEWS THE BABYMAKERS
Director: Jay Chandrasekhar After trying everything to get his wife Audrey pregnant, Tommy Macklin realizes the only way to save his marriage is to recruit his friends and rob a sperm bank where he made a deposit years ago. As with any half-baked scheme, everything can and does go wrong, testing the limits of Tommy and Audrey's relationship. The Babymakers is a hilarious twist on the heist film genre, a laugh-out-loud comedy showing how far one couple will go in hopes of creating a new life.
BACHELORETTE
Director: Leslye Headland Unresolved issues between four high school friends come roaring back to life when the least popular of them gets engaged to one of the most eligible bachelors in New York City and asks the others to be bridesmaids in her wedding.
BUTTER
Director: Jim Field Smith A young orphan (Yara Shahidi) discovers her uncanny talent for butter sculpture in an Iowa town where her adoptive family lives. The talent pits her against the ambitious wife (Jennifer Garner) of the reigning champion (Ty Burrell) in the annual butter sculpture competition.
CHICKEN WITH PLUMS
Director: Marjane Satrapi, Vincent Paronnaud In 1958 Teheran, renowned musician Nasser Ali Khan cannot find a single instrument worthy of replacing his recently broken violin. In a deep depression he confines himself to bed to await death. As he hopes for its arrival, he plunges into dangerous reveries, with dreams as melancholic as they are joyous. As pieces of the puzzle gradually fit together, the poignant secret of his life comes to light: a wonderful story of love that inspired his genius and his music.
THE COLD LIGHT OF DAY Director: Mabrouk El Mechri
Will Shaw (Henry Cavill) goes to Spain for a weeklong sailing vacation with his family but his whole world turns upside down when the family is kidnapped by intelligence agents hell-bent on recovering a mysterious briefcase. Will suddenly finds himself on the run.
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FIL M PREVIEWS COSMOPOLIS
Director: David Cronenberg Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
DIANA VREELAND: THE EYE HAS TO TRAVEL
Director: Lisa Immordino Vreeland, Bent-Jorgen Perlmutt, Frederic Tcheng This is an intimate portrait and a vibrant celebration of one of the most influential women of the 20th century, an enduring icon whose influence changed the face of fashion, beauty, art, publishing and culture forever. During Diana Vreeland’s fifty year reign as the “Empress of Fashion,” she launched Twiggy, advised Jackie O and coined some of fashion's most eloquent proverbs such as “the bikini is the biggest thing since the atom bomb.” She was the fashion editor of Harper’s Bazaar where she worked for 25 years before becoming editor-in-chief of Vogue followed by a remarkable stint at the Met’s Costume Institute where she helped popularize its historical collections.
FOR A GOOD TIME CALL Director: Jamie Travis
The reserved Lauren and the irrepressible Katie are polar opposites and past enemies. But when both come up short on the funds needed to afford their dream New York City apartment, a mutual friend re-introduces them and they reluctantly agree to room together. These apartment-mates have nothing in common—until Lauren discovers that Katie is working as a phone-sex operator and recognizes a good business opportunity. But as their business partnership takes off, their newfound friendship finds unexpected challenges that may leave them both, as they say, hanging on the telephone.
GOATS
Director: Christopher Neil Ellis is the most adult member of his eccentric family at 15 years old. His mom is a New Age hippie who spends all of her time working on self-help rituals with her hustler boyfriend. His dad left home years ago and is more focused on his new wife and family. And then there's Goat Man (David Duchovny), the goat-herding sage who has lived in their pool house since Ellis was a child, teaching him the meaning of stability, commitment and expanding one’s mind. Based on Mark Jude Poirier’s best-selling novel, Goats is a hilarious and poignant film that paints a beautifully honest portrayal of life with its rough edges, awkward moments and non-endings.
HELLO I MUST BE GOING Director: Todd Louiso
Divorced and demoralized, Amy Minsky’s prospects look ridiculously bleak when she is condemned to move back in with her parents at the age of 35. Everyone wants to help, but, as her patience level with advice is plummeting, a bold 19-year-old boy enters her life, igniting her last bit of self-esteem. What ensues is an unconventional love story infused with all the good things Amy needs to get on in life, and that just may include great sex.
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FIL M PREVIEWS HIT AND RUN
Director: Dax Shepard, David Palmer Charlie Bronson (Dax Shepard) is a nice guy with a questionable past who risks everything when he busts out of the witness protection program to deliver his fiancé (Kristen Bell) to Los Angeles to seize a once-in-a-lifetime opportunity. Their road trip grows awkwardly complicated when they are chased by the feds and increasingly dangerous when Charlie's former pals, a band of gangsters, enter the fray.
HYDE PARK ON HUDSON Director: Roger Michell
In June 1939, President Franklin Delano Roosevelt (Bill Murray) and his wife Eleanor (Olivia Williams) host the King and Queen of England for a weekend at the Roosevelt home at Hyde Park on Hudson, in upstate New York—the first-ever visit of a reigning English monarch to America. With Britain facing imminent war with Germany, the Royals are desperately looking to FDR for support. But international affairs must be juggled with the complexities of FDR's domestic establishment, as wife, mother and mistresses all conspire to make the royal weekend an unforgettable one. Seen through the eyes of Daisy, Franklin's distant cousin, neighbor and intimate, the weekend will produce not only a special relationship between two great nations, but, for Daisy—and through her for us all —a deeper understanding of the mysteries of love and friendship.
THE IMPOSSIBLE
Director: Juan Antonio Bayona Based on a true story, The Impossible is the unforgettable account of a family caught in the mayhem of one of the worst natural catastrophes of our time. True-life terror is tempered by the unexpected displays of compassion and simple kindness this family encounters during the darkest hours of their lives.
THE IMPOSTER Director: Bart Layton
This chilling factual thriller chronicles the story of a 13-year-old boy who disappears without a trace from San Antonio, Texas in 1994. Three-and-a-half years later he is found alive thousands of miles away in a village in southern Spain with a story of kidnapping and torture. His family is overjoyed to bring him home. But all is not quite as it seems. The boy bears many of the same distinguishing marks he always had, but why does he now have a strange accent? Why does he look so different? Any why doesn’t the family seem to notice these glaring inconsistencies? It's only when an investigator starts asking questions that this strange tale takes an even stranger turn.
THE INBETWEENERS Director: Ben Palmer
The Inbetweeners is based on the hugely popular and multi-award-winning British TV series of the same name. The British answer to American Pie, this is a racy comedy about four uncool friends who go on their first vacation to Greece in search of high times and wild sex—with no parents, no teachers, no money, and little-to-no chance with the ladies.
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FIL M PREVIEWS IT IS NO DREAM Director: Richard Trank
It Is No Dream narrated by Academy Award® winner Sir Ben Kingsley and features Academy Award® winner Christoph Waltz as the voice of Theodor Herzl. The film explores the life and times of Theodor Herzl, father of the modern state of Israel, a well known journalist and playwright and assimilated Budapest-born Jew. Horrified by the Dreyfus trial in Paris and the anti-Semitism he saw spreading across Europe, Herzl took upon himself the task of attempting to create a Jewish homeland in Palestine against all odds. Over the span of 8 years, Herzl organized and led a worldwide political movement that within 50 years led to the establishment of the state of Israel.
KILLER JOE
Director: William Friedkin When 22 year old drug dealer Chris has his stash stolen by his mother, he has to come up with six thousand dollars quick or he’s dead. Desperate, he turns to “Killer Joe” when he finds out that his mother’s life insurance policy is worth $50,000. Although Joe usually demands cash up front, he finds himself willing to bend the rules in exchange for Chris’ attractive younger sister Dottie who will serve as collateral until the money comes in – if it ever does.
LAST RIDE
Director: Glendyn Ivin After committing a violent crime, a desperate father takes his ten-year-old son Chook on the run. As the two journey into the desert and an unknown future, their troubled relationship and the need to survive sees them battling the elements and each other. Chook eventually takes control and the choice he is forced to make has a devastating effect on both their lives.
LAWLESS
Director: John Hillcoat Based on a true story of the infamous Bondurant Brothers, Lawless follows the bootlegging siblings as they make a run for the American Dream in Prohibitionera Virginia. In this epic gangster tale, inspired by true-life tales of author Matt Bondurant's family in his novel, the loyalty of three brothers is put to the test against the backdrop of the nation's most notorious crime wave.
THE MASTER
Director: Paul Thomas Anderson Set in America in the years following World War II, a charismatic intellectual (Philip Seymour Hoffman) launches a faith-based organization and taps a young drifter (Joaquin Phoenix) as his right-hand man. But as the faith begins to gain a fervent following, the onetime vagabond finds himself questioning his mentor and the belief system he has embraced.
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FIL M PREVIEWS THE ORANGES
Director: Julian Farino Nina Ostroff doesn’t know it, but coming back for Thanksgiving dinner after five years will turn her family’s and the Walling’s friendship upside down. Living across the street from each other, both families seem to have been friends forever. After Nina broke off with her fiancé, the two families are silently hoping that she might fall in love with Toby Walling. But an unexpected interest arises for David, the father of Toby, and it’s the same with Nina. As the attraction between them gets too obvious to ignore, both families start facing difficulty
THE PAPERBOY Director: Lee Daniels
Adapted from Pete Dexter's novel by the same name, The Paperboy tells the story of Hillary Van Wetter (John Cusack), who is convicted of killing a seedy sheriff in Florida. Wetter is given a new lease on life when a female pen pal (Nicole Kidman) enlists the aid of two journalists to try and get him off death row.
RED LIGHTS
Director: Rodrigo Cortes
Veteran paranormal researchers Dr. Margaret Matheson (Sigourney Weaver) and Tom Buckley (Cillian Murphy) debunk fraudulent claims of ghost whispering, faith healing and other psychic phenomena by detecting what Matheson calls “red lights,” the subtle tricks behind every staged supernatural occurrence. But when the legendary blind psychic Simon Silver (Robert De Niro) comes out of retirement after 30 years, his once-fearless adversary Matheson warns Buckley to back off, fearing reprisal from the powerful Silver. Determined to discredit Silver, Buckley uses every tool at his disposal to uncover the truth behind the charismatic, spoonbending, mind reader. But Buckley is forced to reexamine his own core beliefs as his quest builds to a mind-blowing conclusion in this taut psychological thriller.
ROBOT AND FRANK Director: Jake Schreier
Set in the near future, Frank, a retired cat burglar, has two grown kids who are concerned he can no longer live alone. They are tempted to place him in a nursing home until Frank’s son chooses a different option. Against the old man’s wishes, he buys Frank a walking, talking humanoid robot programmed to improve his physical and mental health. What follows is an often hilarious and somewhat heartbreaking story about finding friends and family in the most unexpected places.
RUBY SPARKS
Director: Jonathan Dayton, Valerie Faris Calvin (Paul Dano) is a young novelist who achieved phenomenal success early in his career but is now struggling with his writing—as well as his romantic life. Finally he makes a breakthrough and creates a character named Ruby who inspires him. When Calvin finds Ruby (Zoe Kazan) in the flesh, sitting on his couch about a week later, he is completely flabbergasted that his words have turned into a living, breathing person.
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FIL M PREVIEWS RUST AND BONE
Director: Jacques Audiard Put in charge of his young son, Ali leaves Belgium for Antibes to live with his sister and her husband as a family. Ali’s bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident. Rust and Bone is adapted from the acclaimed book of short stories by Craig Davidson,
SACRIFICE
Director: Kaige Chen A story of epic revenge, Sacrifice, focuses on a power-hungry general who wipes out his rival along with his entire family, save for one newborn. The infant is protected by the doctor who delivered him and raises him as his own, hoping to mold him into his own instrument of retribution.
SAMSARA
Director: Ron Fricke
Filmed over a period of five years in twenty-five countries on five continents, and shot on 70 mm film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes and natural wonders. By dispensing with dialogue and descriptive text, Samsara subverts our expectations of a traditional documentary. It encourages our own interpretations, inspired by breathtaking images and transcendent music that infuses the ancient with the modern. Samsara explores the wonders of our world, from the mundane to the miraculous, looking into the unfathomable reaches of man’s spirituality and the human experience, and illuminating the links between humanity and the rest of nature.
SEARCHING FOR SUGER MAN Director: Malik Bendjelloul
Rodriguez was the greatest 70s rock icon who never was. Discovered in a Detroit bar in the late 60s by two celebrated producers struck by his soulful melodies and prophetic lyrics, they recorded an album that they believed would secure his reputation as the greatest recording artist of his generation. In fact the album bombed and the singer disappeared into obscurity amid rumors of a gruesome on-stage suicide. But a bootleg recording found its way into apartheid South Africa and, over the next two decades, he became a phenomenon. The film follows the story of two South African fans who set out to discover what really happened to their hero. Their investigation leads them to a story more extraordinary than any of the existing myths about the artist known as Rodriguez.
THE SESSIONS Director: Ben Lewin
Based on the poignantly optimistic autobiographical writings of California-based journalist and poet Mark O’Brien, The Sessions tells the story of a man confined to an iron lung who is determined, at age 38, to lose his virginity. With the help of his therapists and the guidance of his priest, he sets out to make his dream a reality.
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FIL M PREVIEWS STARBUCK
Director: Ken Scott The original film was directed by Ken Scott and written by Scott and Ken Petit and starred Patrick Huard as David Wozniak, an adult slacker who learns that as a sperm donor with the alias “Starbuck” he’s fathered over 500 children. When a large group of them petition the sperm bank to reveal his identity, David has to decide whether or not to come forward while, in his personal life, his own girlfriend makes a decision about whether or not he should be the father of their potential child.
THE VICTIM
Director: Michael Biehn Good time girls Annie and Mary find themselves in a life-and-death situation. Annie’s life is put in jeopardy when she is witness to a violent act at the hands of two Sheriff’s Deputies. Fleeing from attackers she stumbles across Kyle, a recluse living in the middle of the woods. The ruggedly handsome loner stays far from civilization—until a single knock on his door throws his solitary life into chaos. Two worlds collide in this psychological thriller that will make you question your trust in mankind.
WILD HORSE WILD RIDE This film tells the story of the Extreme Mustang Makeover Challenge, an annual contest that dares each of 100 people to tame a totally wild mustang in order to get it adopted into a better life beyond federal corrals. Stunning and poignant, Alex Dawson and Greg Gricus’ debut feature documentary chronicles a handful of unforgettable characters from their first uneasy meeting with their horses and over three months as they attempt to transform from scared strangers to the closest of companions.
WAR OF THE BUTTONS In occupied France, Lebrac leads a play war between two rival kid gangs, but his feelings for Violette, a Jewish girl in danger of being discovered by the Nazis, encourage Lebrac to face the reality of what’s happening around him.
WUTHERING HEIGHTS Director: Andrea Arnold
Based on the classic novel by Emily Bronte, Wuthering Heights is a passionate tale of two teenagers whose elemental love for each other creates a storm of vengeance. Heathcliff, a poor boy of unknown origins, is rescued from poverty and taken in by the Earnshaw family where he develops an intense relationship with his young foster sister Cathy.
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