Indie Beat's back for an all new year, and today it's bringing with it the first trailer for Bad Trip, and upcoming thriller set in the world of wild raves. Come inside to check it out.
Here at Cinelinx we like to talk about all aspects of filmmaking and movie news. To that end, we have Indie Beat where we highlight some of the latest news, trailers, and PR releases from the indie filmmaker scene. So if you're an independent filmmaker and want some coverage on our site, be sure to drop us a line at jordan@cinelinx.com.
A young street kid couple from Pittsburgh save up cash to go to Germany to get lost in the Electronic Dance Music scene. Things don't turn out as expected though. Jack wakes up dazed and confused after a rave, lacking most of his memories of the last rave and Sam is gone.
Here at Cinelinx we like to talk about all aspects of filmmaking and movie news. To that end, we have Indie Beat where we highlight some of the latest news, trailers, and PR releases from the indie filmmaker scene. So if you're an independent filmmaker and want some coverage on our site, be sure to drop us a line at jordan@cinelinx.com.
A young street kid couple from Pittsburgh save up cash to go to Germany to get lost in the Electronic Dance Music scene. Things don't turn out as expected though. Jack wakes up dazed and confused after a rave, lacking most of his memories of the last rave and Sam is gone.
- 1/9/2015
- by feeds@cinelinx.com (Jordan Maison)
- Cinelinx
Macedonian filmmaker Milcho Manchevski follows his bold 1994 foreign-language Oscar nominee "Before the Rain" with a sophomore effort that is nothing if not wildly audacious.
A British-German-Italian-Macedonian co-production, "Dust" is a time-shifting Balkan Western that features turn-of-the-20th century American cowboys, Greek and Albanian paramilitary gangs and contemporary New York crooks.
In short, it's got more personalities than Sybil.
Manchevski's fondness for shaking up the conventional narrative form makes for compelling viewing up to a point, but the constant period pingponging ultimately makes it difficult to muster up much in the way of viewer engagement.
By the time "Dust" cleared at one of its initially full Toronto screenings, there were noticeable wide-open spaces in the theater.
Its commercial potential, at least on North American soil, would appear rather muddy.
All of the storytelling begins in a drab New York apartment that has just been broken into by a street punk ("Primary Colors'" Adrian Lester) who is swiftly incapacitated by the flat's elderly but by no means feeble occupant (a gutsy Rosemary Murphy).
Rather than turning her intruder in to the police, the lonely Angela regales him with a sprawling yarn that begins a century earlier in the Wild West, where bickering brothers Elijah (Joseph Fiennes) and Luke (David Wenham) are fighting for the affections of a French whore, Lilith (Anne Brochet).
When Elijah wins out, making Lilith his wife, a bitter Luke travels the world with his trusty rifle and ends up in the middle of the Macedonian revolution, joining a group of cattle raiders-turned-mercenaries.
While Angela's tale seems to grow taller by the minute, Edge, as her newfound companion likes to be known, is held captivated by the mention of a hoard of rare gold coins that she has apparently stashed somewhere in the apartment.
Buried beneath all of Manchevski's jarringly intrusive, overlapping shifts back and forth in time, there's actually an intriguing concept about the tradition of oral history and how the years can warp perspectives and sepia tint the truth.
But it's hard to notice under all the epic restlessness.
That all-over-the-place vibe also extends to the performances, with Fiennes and Aussie Wenham in squinty spaghetti Western mode affecting twangs that should have gone back to the "drawling" board, while Lester and a fearless, feisty Murphy attempt to keep things real, raw and amusingly quirky all at once.
In the end, "Dust"'s dizzyingly disparate elements seem to be on different planets, let alone timelines.
DUST
The Film Consortium presents
a History Dreams/ena Film/
Fandango production with Shadow Films
in association with South Fork Pictures
a Milcho Manchevski film
Director-screenwriter: Milcho Manchevski
Producers: Chris Auty, Vesna Jovanoska, Domenico Procacci
Director of photography: Barry Ackroyd
Production designer: David Munns
Editor: Nic Gaster
Costume designers: Ane Crabtree, Anne Jendritzko
Music: Kiril Dzajkovski
Color and black and white/stereo
Cast:
Elijah: Joseph Fiennes
Luke: David Wenham
Edge: Adrian Lester
Lilith: Anne Brochet
Neda: Nikolina Kujaca
Angela: Rosemary Murphy
Running time -- 127 minutes
No MPAA rating...
A British-German-Italian-Macedonian co-production, "Dust" is a time-shifting Balkan Western that features turn-of-the-20th century American cowboys, Greek and Albanian paramilitary gangs and contemporary New York crooks.
In short, it's got more personalities than Sybil.
Manchevski's fondness for shaking up the conventional narrative form makes for compelling viewing up to a point, but the constant period pingponging ultimately makes it difficult to muster up much in the way of viewer engagement.
By the time "Dust" cleared at one of its initially full Toronto screenings, there were noticeable wide-open spaces in the theater.
Its commercial potential, at least on North American soil, would appear rather muddy.
All of the storytelling begins in a drab New York apartment that has just been broken into by a street punk ("Primary Colors'" Adrian Lester) who is swiftly incapacitated by the flat's elderly but by no means feeble occupant (a gutsy Rosemary Murphy).
Rather than turning her intruder in to the police, the lonely Angela regales him with a sprawling yarn that begins a century earlier in the Wild West, where bickering brothers Elijah (Joseph Fiennes) and Luke (David Wenham) are fighting for the affections of a French whore, Lilith (Anne Brochet).
When Elijah wins out, making Lilith his wife, a bitter Luke travels the world with his trusty rifle and ends up in the middle of the Macedonian revolution, joining a group of cattle raiders-turned-mercenaries.
While Angela's tale seems to grow taller by the minute, Edge, as her newfound companion likes to be known, is held captivated by the mention of a hoard of rare gold coins that she has apparently stashed somewhere in the apartment.
Buried beneath all of Manchevski's jarringly intrusive, overlapping shifts back and forth in time, there's actually an intriguing concept about the tradition of oral history and how the years can warp perspectives and sepia tint the truth.
But it's hard to notice under all the epic restlessness.
That all-over-the-place vibe also extends to the performances, with Fiennes and Aussie Wenham in squinty spaghetti Western mode affecting twangs that should have gone back to the "drawling" board, while Lester and a fearless, feisty Murphy attempt to keep things real, raw and amusingly quirky all at once.
In the end, "Dust"'s dizzyingly disparate elements seem to be on different planets, let alone timelines.
DUST
The Film Consortium presents
a History Dreams/ena Film/
Fandango production with Shadow Films
in association with South Fork Pictures
a Milcho Manchevski film
Director-screenwriter: Milcho Manchevski
Producers: Chris Auty, Vesna Jovanoska, Domenico Procacci
Director of photography: Barry Ackroyd
Production designer: David Munns
Editor: Nic Gaster
Costume designers: Ane Crabtree, Anne Jendritzko
Music: Kiril Dzajkovski
Color and black and white/stereo
Cast:
Elijah: Joseph Fiennes
Luke: David Wenham
Edge: Adrian Lester
Lilith: Anne Brochet
Neda: Nikolina Kujaca
Angela: Rosemary Murphy
Running time -- 127 minutes
No MPAA rating...
The burgeoning genre of comedies in which members of the British working class become empowered receives an offbeat spin in this latest example, chronicling the adventures of an overweight woman who finds personal fulfillment through sumo wrestling.
While the execution does not quite live up to the high-concept premise, the film has its heart in the right place and delivers some fun moments. Sumo wrestling not quite being the attraction here that it is in other places, however, "Secret Society" is unlikely to repeat the Stateside success of similarly themed efforts like "The Full Monty". The film opens today at the Quad Cinema in New York.
Charlotte Brittain, who previously impressed in the British film "Get Real", stars as Daisy, a young newlywed mocked by strangers because of her excess weight but whose husband, Ken (Lee Ross), has absolutely no problem with it. Unfortunately, Ken has just been laid off, and his best plan for keeping them afloat financially rests on the dubious notion of selling nude photographs of his new wife in the form of postcards. The normally shy Daisy tries to go along but ultimately is unable to go through with it, instead taking a menial job in a canning factory.
There she discovers that her new boss, Marlene, runs an after-work female sumo wrestling club, populated by large women bearing such monikers as Wooly Mammoth and Big White Orca. Daisy is invited to join and, much to her surprise, finds herself feeling newly liberated and self-confident by the experience, about which she says nothing to Ken. Made suspicious by her secretiveness, he follows her and discovers her surreptitiously training in the countryside. Fueled by alcohol and the ravings of a UFO-obsessed friend, he becomes convinced that Daisy, now known within her new circle as Mistress Great White Jellyfish, has been brainwashed by aliens.
Such outlandish plot elements don't well serve the film, which is already dealing in fairly exotic territory. The screenplay, co-written by director Imogen Kimmel, lacks the wit necessary to fully exploit the comic elements of the premise, making the proceedings more bizarre than actually amusing. But there's also a welcome tenderness on display, especially in its nonexploitative depiction of the loving relationship between the two physically mismatched central characters. Brittain is highly appealing as the frustrated Daisy, giving the film a real emotional center, and she also handles the very physical demands of her role well.
SECRET SOCIETY
First Run Features
Credits:
Director: Imogen Kimmel
Screenwriters: Catriona McGowan, Imogen Kimmel
Producers: Vesna Jovanoska, David Pupkewitz
Director of photography: Glynn Speeckaert
Editor: Klatharina Schmidt
Music: Paul Heard
Production designer: Eddy Andres
Cast:
Daisy: Charlotte Brittain
Ken: Lee Ross
Marlene: Annette Badland
Billy: James Hooton
Paul: Charles Dale
Running time -- 89 minutes
No MPAA rating...
While the execution does not quite live up to the high-concept premise, the film has its heart in the right place and delivers some fun moments. Sumo wrestling not quite being the attraction here that it is in other places, however, "Secret Society" is unlikely to repeat the Stateside success of similarly themed efforts like "The Full Monty". The film opens today at the Quad Cinema in New York.
Charlotte Brittain, who previously impressed in the British film "Get Real", stars as Daisy, a young newlywed mocked by strangers because of her excess weight but whose husband, Ken (Lee Ross), has absolutely no problem with it. Unfortunately, Ken has just been laid off, and his best plan for keeping them afloat financially rests on the dubious notion of selling nude photographs of his new wife in the form of postcards. The normally shy Daisy tries to go along but ultimately is unable to go through with it, instead taking a menial job in a canning factory.
There she discovers that her new boss, Marlene, runs an after-work female sumo wrestling club, populated by large women bearing such monikers as Wooly Mammoth and Big White Orca. Daisy is invited to join and, much to her surprise, finds herself feeling newly liberated and self-confident by the experience, about which she says nothing to Ken. Made suspicious by her secretiveness, he follows her and discovers her surreptitiously training in the countryside. Fueled by alcohol and the ravings of a UFO-obsessed friend, he becomes convinced that Daisy, now known within her new circle as Mistress Great White Jellyfish, has been brainwashed by aliens.
Such outlandish plot elements don't well serve the film, which is already dealing in fairly exotic territory. The screenplay, co-written by director Imogen Kimmel, lacks the wit necessary to fully exploit the comic elements of the premise, making the proceedings more bizarre than actually amusing. But there's also a welcome tenderness on display, especially in its nonexploitative depiction of the loving relationship between the two physically mismatched central characters. Brittain is highly appealing as the frustrated Daisy, giving the film a real emotional center, and she also handles the very physical demands of her role well.
SECRET SOCIETY
First Run Features
Credits:
Director: Imogen Kimmel
Screenwriters: Catriona McGowan, Imogen Kimmel
Producers: Vesna Jovanoska, David Pupkewitz
Director of photography: Glynn Speeckaert
Editor: Klatharina Schmidt
Music: Paul Heard
Production designer: Eddy Andres
Cast:
Daisy: Charlotte Brittain
Ken: Lee Ross
Marlene: Annette Badland
Billy: James Hooton
Paul: Charles Dale
Running time -- 89 minutes
No MPAA rating...
Macedonian filmmaker Milcho Manchevski follows his bold 1994 foreign-language Oscar nominee "Before the Rain" with a sophomore effort that is nothing if not wildly audacious.
A British-German-Italian-Macedonian co-production, "Dust" is a time-shifting Balkan Western that features turn-of-the-20th century American cowboys, Greek and Albanian paramilitary gangs and contemporary New York crooks.
In short, it's got more personalities than Sybil.
Manchevski's fondness for shaking up the conventional narrative form makes for compelling viewing up to a point, but the constant period pingponging ultimately makes it difficult to muster up much in the way of viewer engagement.
By the time "Dust" cleared at one of its initially full Toronto screenings, there were noticeable wide-open spaces in the theater.
Its commercial potential, at least on North American soil, would appear rather muddy.
All of the storytelling begins in a drab New York apartment that has just been broken into by a street punk ("Primary Colors'" Adrian Lester) who is swiftly incapacitated by the flat's elderly but by no means feeble occupant (a gutsy Rosemary Murphy).
Rather than turning her intruder in to the police, the lonely Angela regales him with a sprawling yarn that begins a century earlier in the Wild West, where bickering brothers Elijah (Joseph Fiennes) and Luke (David Wenham) are fighting for the affections of a French whore, Lilith (Anne Brochet).
When Elijah wins out, making Lilith his wife, a bitter Luke travels the world with his trusty rifle and ends up in the middle of the Macedonian revolution, joining a group of cattle raiders-turned-mercenaries.
While Angela's tale seems to grow taller by the minute, Edge, as her newfound companion likes to be known, is held captivated by the mention of a hoard of rare gold coins that she has apparently stashed somewhere in the apartment.
Buried beneath all of Manchevski's jarringly intrusive, overlapping shifts back and forth in time, there's actually an intriguing concept about the tradition of oral history and how the years can warp perspectives and sepia tint the truth.
But it's hard to notice under all the epic restlessness.
That all-over-the-place vibe also extends to the performances, with Fiennes and Aussie Wenham in squinty spaghetti Western mode affecting twangs that should have gone back to the "drawling" board, while Lester and a fearless, feisty Murphy attempt to keep things real, raw and amusingly quirky all at once.
In the end, "Dust"'s dizzyingly disparate elements seem to be on different planets, let alone timelines.
DUST
The Film Consortium presents
a History Dreams/ena Film/
Fandango production with Shadow Films
in association with South Fork Pictures
a Milcho Manchevski film
Director-screenwriter: Milcho Manchevski
Producers: Chris Auty, Vesna Jovanoska, Domenico Procacci
Director of photography: Barry Ackroyd
Production designer: David Munns
Editor: Nic Gaster
Costume designers: Ane Crabtree, Anne Jendritzko
Music: Kiril Dzajkovski
Color and black and white/stereo
Cast:
Elijah: Joseph Fiennes
Luke: David Wenham
Edge: Adrian Lester
Lilith: Anne Brochet
Neda: Nikolina Kujaca
Angela: Rosemary Murphy
Running time -- 127 minutes
No MPAA rating...
A British-German-Italian-Macedonian co-production, "Dust" is a time-shifting Balkan Western that features turn-of-the-20th century American cowboys, Greek and Albanian paramilitary gangs and contemporary New York crooks.
In short, it's got more personalities than Sybil.
Manchevski's fondness for shaking up the conventional narrative form makes for compelling viewing up to a point, but the constant period pingponging ultimately makes it difficult to muster up much in the way of viewer engagement.
By the time "Dust" cleared at one of its initially full Toronto screenings, there were noticeable wide-open spaces in the theater.
Its commercial potential, at least on North American soil, would appear rather muddy.
All of the storytelling begins in a drab New York apartment that has just been broken into by a street punk ("Primary Colors'" Adrian Lester) who is swiftly incapacitated by the flat's elderly but by no means feeble occupant (a gutsy Rosemary Murphy).
Rather than turning her intruder in to the police, the lonely Angela regales him with a sprawling yarn that begins a century earlier in the Wild West, where bickering brothers Elijah (Joseph Fiennes) and Luke (David Wenham) are fighting for the affections of a French whore, Lilith (Anne Brochet).
When Elijah wins out, making Lilith his wife, a bitter Luke travels the world with his trusty rifle and ends up in the middle of the Macedonian revolution, joining a group of cattle raiders-turned-mercenaries.
While Angela's tale seems to grow taller by the minute, Edge, as her newfound companion likes to be known, is held captivated by the mention of a hoard of rare gold coins that she has apparently stashed somewhere in the apartment.
Buried beneath all of Manchevski's jarringly intrusive, overlapping shifts back and forth in time, there's actually an intriguing concept about the tradition of oral history and how the years can warp perspectives and sepia tint the truth.
But it's hard to notice under all the epic restlessness.
That all-over-the-place vibe also extends to the performances, with Fiennes and Aussie Wenham in squinty spaghetti Western mode affecting twangs that should have gone back to the "drawling" board, while Lester and a fearless, feisty Murphy attempt to keep things real, raw and amusingly quirky all at once.
In the end, "Dust"'s dizzyingly disparate elements seem to be on different planets, let alone timelines.
DUST
The Film Consortium presents
a History Dreams/ena Film/
Fandango production with Shadow Films
in association with South Fork Pictures
a Milcho Manchevski film
Director-screenwriter: Milcho Manchevski
Producers: Chris Auty, Vesna Jovanoska, Domenico Procacci
Director of photography: Barry Ackroyd
Production designer: David Munns
Editor: Nic Gaster
Costume designers: Ane Crabtree, Anne Jendritzko
Music: Kiril Dzajkovski
Color and black and white/stereo
Cast:
Elijah: Joseph Fiennes
Luke: David Wenham
Edge: Adrian Lester
Lilith: Anne Brochet
Neda: Nikolina Kujaca
Angela: Rosemary Murphy
Running time -- 127 minutes
No MPAA rating...
- 10/5/2001
- The Hollywood Reporter - Movie News
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