Set in the outer boroughs of New York City, Nick Bentgen’s latest documentary #LoveYourz follows a group of teens who have formed a self-love creative collective as they look to pave a way for themselves into the future. What makes the film so compelling is Bentgen’s ability to capture these teens on their own terms. The camera often floats through organic scenarios, catching moments on the fly, whilst maintaining an intimacy that feels immersive. This is also backed by the use of multiple visual mediums, with great high res photography combined with retro VHS-style footage to give the film a fresh aesthetic buoyancy that keeps you engaged. Dn sat down with Bentgen to talk over the creation of #LoveYourz, revealing the serendipitous moment that led to its creation, the decision making behind his multi-camera setup, and the filmmaking rules he followed to tell his story with authenticity.
#LoveYourz...
#LoveYourz...
- 4/22/2024
- by James Maitre
- Directors Notes
Based on Alysia Abbott’s 2013 memoir of the same name, Andrew Durham’s feature debut Fairyland chronicles Alysia’s (Emilia Jones) coming of age after the death of her mother. More specifically, Fairyland explores the complicated relationship between Alysia and her father Steve (Scoot McNairy), who relocates with her to San Francisco in the ’70s and begins to openly date men and adopt a distinctly bohemian lifestyle. Dp Greta Zozula tells Filmmaker about the various aesthetic choices made to capture this touching true story. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being […]
The post “A Transition That Happens When the Kid Becomes the Adult in the Relationship”: Dp Greta Zozula on Fairyland first appeared on Filmmaker Magazine.
The post “A Transition That Happens When the Kid Becomes the Adult in the Relationship”: Dp Greta Zozula on Fairyland first appeared on Filmmaker Magazine.
- 1/28/2023
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Based on Alysia Abbott’s 2013 memoir of the same name, Andrew Durham’s feature debut Fairyland chronicles Alysia’s (Emilia Jones) coming of age after the death of her mother. More specifically, Fairyland explores the complicated relationship between Alysia and her father Steve (Scoot McNairy), who relocates with her to San Francisco in the ’70s and begins to openly date men and adopt a distinctly bohemian lifestyle. Dp Greta Zozula tells Filmmaker about the various aesthetic choices made to capture this touching true story. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being […]
The post “A Transition That Happens When the Kid Becomes the Adult in the Relationship”: Dp Greta Zozula on Fairyland first appeared on Filmmaker Magazine.
The post “A Transition That Happens When the Kid Becomes the Adult in the Relationship”: Dp Greta Zozula on Fairyland first appeared on Filmmaker Magazine.
- 1/28/2023
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Told from the perspective of a young girl raised by her single gay father to be a woman who is “strong and tolerant and not afraid of this world,” Fairyland reveals the intensely personal nature of its origins in Alysia Abbott’s 2013 memoir at every step of the characters’ complicated evolution together. Like that sometimes strained relationship, this debut feature from photographer Andrew Durham often feels stuck, but eventually reaches its destination with clear-eyed compassion and an emotionally powerful reconciliation. Those qualities are captured with enormous sensitivity in the lead performances of Emilia Jones and Scoot McNairy.
With a producing team led by Sofia Coppola for American Zoetrope, this is a bittersweet drama about unconventional parenting and alternative families that will resonate loudest with LGBTQ audiences. But its surge of final-act feeling will speak to any audience that has ever experienced the startling reckoning that comes with grief.
The film...
With a producing team led by Sofia Coppola for American Zoetrope, this is a bittersweet drama about unconventional parenting and alternative families that will resonate loudest with LGBTQ audiences. But its surge of final-act feeling will speak to any audience that has ever experienced the startling reckoning that comes with grief.
The film...
- 1/27/2023
- by David Rooney
- The Hollywood Reporter - Movie News
Stories about the gay heyday of 1970s San Francisco — and the cruel chaser of the AIDS crisis the following decade — often hang on the notion of chosen family within the queer community: the bonds formed when blood ties are severed by prejudice. Studies of biological family, and parenthood especially, in that context are more unusual, which is what makes Alysia Abbott’s book “Fairyland: A Memoir of My Father” so moving. An account of her upbringing by a gay single father amid the LGBTQ liberation movement, and her subsequent nursing of him through AIDS, it balances an eager child’s-eye acceptance of counterculture living with an older woman’s melancholy over things unsaid or misspoken. In “Fairyland,” Andrew Durham adapts her story with warmth and sensitivity, though those perspectives are more fluently bridged on the page than on the screen.
A photographer making his feature-length debut as writer-director, Durham initially...
A photographer making his feature-length debut as writer-director, Durham initially...
- 1/21/2023
- by Guy Lodge
- Variety Film + TV
Scoot McNairy is going to break your heart in Andrew Durham’s debut feature “Fairyland,” produced by Sofia Coppola and adapted from Alysia Abbott’s “Fairyland: A Memoir of My Father.” McNairy stars as Steve Abbott, a writer and widower who packs up his battered red Volkswagen bug and moves his young daughter Alysia (Nessa Dougherty) to San Francisco in the 1970s after the tragic death of his wife in a car accident.
In San Francisco, Steve can pursue his writing career and a queer lifestyle, all while providing Alysia with a free-wheeling, bohemian and highly independent childhood, one that is creative, honest and lived without shame, in a setting that’s more glam-rock than Summer of Love. However, like most kids and young adults, it will take years for Alysia to come to terms with the unique benefits of growing up in such an unconventional manner.
Durham takes care...
In San Francisco, Steve can pursue his writing career and a queer lifestyle, all while providing Alysia with a free-wheeling, bohemian and highly independent childhood, one that is creative, honest and lived without shame, in a setting that’s more glam-rock than Summer of Love. However, like most kids and young adults, it will take years for Alysia to come to terms with the unique benefits of growing up in such an unconventional manner.
Durham takes care...
- 1/21/2023
- by Katie Walsh
- The Wrap
Amid baked goods and cheerful introductions, a group of white women hold a meeting inside a small-town church. But before the first slice of pie has been eaten, the seemingly innocuous gathering sheds the veneer of innocence to reveal its atrocious intent.
One of the most audacious American debuts of the year, writer-director Beth de Araújo’s “Soft & Quiet” shocks one’s system from its opening moments and doesn’t ever slow down to let you fully process it as it happens. A whirlwind of increasingly horrifying hate speech that turns into actual violence, the film plays out in real time and was shot to give the impression of being a single take, making for a deliberately intense and disturbing experience.
The newly founded club is led by Emily (Stefanie Estes), a kindergarten teacher poisoning young minds, and exists to peddle white-supremacist ideologies. As they collectively complain about people...
One of the most audacious American debuts of the year, writer-director Beth de Araújo’s “Soft & Quiet” shocks one’s system from its opening moments and doesn’t ever slow down to let you fully process it as it happens. A whirlwind of increasingly horrifying hate speech that turns into actual violence, the film plays out in real time and was shot to give the impression of being a single take, making for a deliberately intense and disturbing experience.
The newly founded club is led by Emily (Stefanie Estes), a kindergarten teacher poisoning young minds, and exists to peddle white-supremacist ideologies. As they collectively complain about people...
- 11/4/2022
- by Carlos Aguilar
- The Wrap
This review was originally posted for the film’s world premiere at the 2022 Sundance Film Festival.
Wishes aren’t decisions, decisions aren’t actions, and actions aren’t a given, especially where rights are concerned. Women intrinsically know this struggle — not just for choice itself, but for what choosing entails — and Oscar-nominated “Carol” screenwriter Phyllis Nagy incisively, humanely explores that in her gripping, personable drama “Call Jane,” the story of a suburban Chicago housewife (Elizabeth Banks) encountering an underground network of women facilitating safe abortions in the years before Roe v. Wade.
The Janes were real, an activist collective operating illegally but diligently to help pregnant women from all walks of life through a very particular hardship, and their incredible story is the subject of a documentary (“The Janes”) that’s also premiering at this year’s Sundance. But what makes Nagy’s dramatization the perfect complement to testimony-driven non-fiction...
Wishes aren’t decisions, decisions aren’t actions, and actions aren’t a given, especially where rights are concerned. Women intrinsically know this struggle — not just for choice itself, but for what choosing entails — and Oscar-nominated “Carol” screenwriter Phyllis Nagy incisively, humanely explores that in her gripping, personable drama “Call Jane,” the story of a suburban Chicago housewife (Elizabeth Banks) encountering an underground network of women facilitating safe abortions in the years before Roe v. Wade.
The Janes were real, an activist collective operating illegally but diligently to help pregnant women from all walks of life through a very particular hardship, and their incredible story is the subject of a documentary (“The Janes”) that’s also premiering at this year’s Sundance. But what makes Nagy’s dramatization the perfect complement to testimony-driven non-fiction...
- 10/27/2022
- by Robert Abele
- The Wrap
If movies have taught us anything it’s that childhood is a magical time where, if you’re doing it right, you befriend space aliens, rescue orcas, inherit chocolate factories or play every sport imaginable with an omni-talented Olympian dog.
Or, if you’re more of the melancholic type, at least you find a dead body in the woods. That’s the bare minimum anyone can ask for.
James Ponsoldt’s “Summering” is a direct descendant of “Stand By Me,” films about youngsters peppered with wispy nostalgia, in which the innocence of their youth is challenged by a corpse tucked away where only children are likely to find it. But whereas Rob Reiner’s classic coming-of-age film romanticized a decades-bygone era, Ponsoldt finds the same magically complicated mash-up of naiveté and depth in a contemporary setting. Childhood, he seems to argue, is always magical and horrifying in equal measure, no...
Or, if you’re more of the melancholic type, at least you find a dead body in the woods. That’s the bare minimum anyone can ask for.
James Ponsoldt’s “Summering” is a direct descendant of “Stand By Me,” films about youngsters peppered with wispy nostalgia, in which the innocence of their youth is challenged by a corpse tucked away where only children are likely to find it. But whereas Rob Reiner’s classic coming-of-age film romanticized a decades-bygone era, Ponsoldt finds the same magically complicated mash-up of naiveté and depth in a contemporary setting. Childhood, he seems to argue, is always magical and horrifying in equal measure, no...
- 8/11/2022
- by William Bibbiani
- The Wrap
Warning: Some spoilers ahead.
Told in real-time across one (seemingly) unbroken shot, Beth de Araújo’s Soft & Quiet is perhaps the most provocative film to screen at SXSW this year. If it doesn’t quite fit the bill as a traditional horror film, that doesn’t mean there isn’t terror lurking under its surface. Speaking after the screening, de Araujo said her intention is to have the audience witness a hate crime play out in real-time. The film is much more—it’s a political indictment of the kind of frank, racist conversations that can play out amongst a group of like-minded (awful) individuals who are careful to moderate their tone. It’s the kind of wink, wink, nod, nod, coded language used to pull moderate voters into your cause—be it a politician in a sweater vest or a soccer mom in Target is saying it, is it that bad?...
Told in real-time across one (seemingly) unbroken shot, Beth de Araújo’s Soft & Quiet is perhaps the most provocative film to screen at SXSW this year. If it doesn’t quite fit the bill as a traditional horror film, that doesn’t mean there isn’t terror lurking under its surface. Speaking after the screening, de Araujo said her intention is to have the audience witness a hate crime play out in real-time. The film is much more—it’s a political indictment of the kind of frank, racist conversations that can play out amongst a group of like-minded (awful) individuals who are careful to moderate their tone. It’s the kind of wink, wink, nod, nod, coded language used to pull moderate voters into your cause—be it a politician in a sweater vest or a soccer mom in Target is saying it, is it that bad?...
- 3/24/2022
- by John Fink
- The Film Stage
One of the most chilling moments in Beth de Araújo’s masterful and outraged Soft & Quiet occurs early on, before the film’s sickeningly violent chain of events formally begins. After shooting side eye at her school’s immigrant female custodian, blonde thirtysomething elementary school teacher Emily (Stefanie Estes) coaches a young boy to go back inside the lunchroom and tell the woman off — to tell her that she must wait to do her job until the school is totally empty. Emily is not just using the child to disrespect the custodian, she’s instilling in the boy the sort of racial […]
The post “There Has Been a Deliberate Rebranding of the Alt-Right Women To Have the Veneer of Smart, Sophisticated Instagram Influencers”: Director Beth de Araújo and Dp Greta Zozula on Soft & Quiet first appeared on Filmmaker Magazine.
The post “There Has Been a Deliberate Rebranding of the Alt-Right Women To Have the Veneer of Smart, Sophisticated Instagram Influencers”: Director Beth de Araújo and Dp Greta Zozula on Soft & Quiet first appeared on Filmmaker Magazine.
- 3/23/2022
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
One of the most chilling moments in Beth de Araújo’s masterful and outraged Soft & Quiet occurs early on, before the film’s sickeningly violent chain of events formally begins. After shooting side eye at her school’s immigrant female custodian, blonde thirtysomething elementary school teacher Emily (Stefanie Estes) coaches a young boy to go back inside the lunchroom and tell the woman off — to tell her that she must wait to do her job until the school is totally empty. Emily is not just using the child to disrespect the custodian, she’s instilling in the boy the sort of racial […]
The post “There Has Been a Deliberate Rebranding of the Alt-Right Women To Have the Veneer of Smart, Sophisticated Instagram Influencers”: Director Beth de Araújo and Dp Greta Zozula on Soft & Quiet first appeared on Filmmaker Magazine.
The post “There Has Been a Deliberate Rebranding of the Alt-Right Women To Have the Veneer of Smart, Sophisticated Instagram Influencers”: Director Beth de Araújo and Dp Greta Zozula on Soft & Quiet first appeared on Filmmaker Magazine.
- 3/23/2022
- by Scott Macaulay
- Filmmaker Magazine - Blog
Emily really, really needs this meeting to go well. After all, the kindergarten teacher’s day has already been beset by problems both large and small (the obviously illegal janitor at her elementary school had the audacity to do her job when children — little children! who could have slipped on her just-mopped floors! — were still around). Emily (a riveting Stefanie Estes) might not be able to control what she makes with her body or the people who come into her orbit, but in Beth de Araújo’s nerve-shredding real-time thriller “Soft & Quiet,” she’s hellbent on changing what she can, all set against the backdrop of
With the workday over and some casual racism behind her, Emily is about to set out on a very important endeavor: gathering a gaggle of like-minded white women for what she hopes will be the first meeting of many. She’s got everything set: a curated guest list,...
With the workday over and some casual racism behind her, Emily is about to set out on a very important endeavor: gathering a gaggle of like-minded white women for what she hopes will be the first meeting of many. She’s got everything set: a curated guest list,...
- 3/12/2022
- by Kate Erbland
- Indiewire
Hardly for the first time, Blumhouse has its name on a horror melodrama fueled by a strong pulse of politically topical blood running through its veins, this time with the ironically titled Soft & Quiet. In fact, Beth de Araújo’s debut feature is far more notable for its throbbing political outrage than for its dramatic credibility, which becomes increasingly hard to swallow as the yarn unravels. But righteous young and lefty audiences will enjoy getting cranked up by the increasingly outrageous behavior exhibited by a group of aggrieved and incensed right-wing women whose idea of taking matters into their own hands goes more than a bit too far.
If it weren’t for the up-front ideological issues propelling the action here, the writer-director’s bow would certainly have been most noted for her decision to deliver the 91-minute film in one take, even though this feat has now been...
If it weren’t for the up-front ideological issues propelling the action here, the writer-director’s bow would certainly have been most noted for her decision to deliver the 91-minute film in one take, even though this feat has now been...
- 3/12/2022
- by Todd McCarthy
- Deadline Film + TV
Roadside Attractions has scooped up the U.S. rights to “Call Jane,” the period piece abortion drama that stars Elizabeth Banks and made its premiere at the Sundance Film Festival this year.
Phyllis Nagy (“Carol”) directed the film that also stars Sigourney Weaver. Roadside is planning a theatrical release for the film this fall.
“Call Jane” is set in Chicago in 1968 and follows a suburban housewife named Joy who has a life-threatening heart condition as a result of her pregnancy and finds an all-male medical establishment is unwilling to assist in her abortion. Her journey for a solution leads her to two women who are committed to women’s health and have the dream of giving all women access to abortions, and together they form an underground abortion service for women that puts every aspect of her own life on the line.
The film is based on a true story,...
Phyllis Nagy (“Carol”) directed the film that also stars Sigourney Weaver. Roadside is planning a theatrical release for the film this fall.
“Call Jane” is set in Chicago in 1968 and follows a suburban housewife named Joy who has a life-threatening heart condition as a result of her pregnancy and finds an all-male medical establishment is unwilling to assist in her abortion. Her journey for a solution leads her to two women who are committed to women’s health and have the dream of giving all women access to abortions, and together they form an underground abortion service for women that puts every aspect of her own life on the line.
The film is based on a true story,...
- 2/4/2022
- by Brian Welk
- The Wrap
Roadside Attractions is taking U.S. distribution rights to Oscar-Nominee Phyllis Nagy’s theatrical feature directorial debut, Call Jane. A theatrical release is planned for the film this year.
Chicago, 1968. As the city and the nation are poised on the brink of political upheaval, suburban housewife Joy (Elizabeth Banks) leads an ordinary life with her husband and daughter. When Joy’s pregnancy leads to a life-threatening heart condition, she must navigate an all-male medical establishment unwilling to terminate her pregnancy in order to save her life. Her journey for a solution leads her to Virginia (Sigourney Weaver), an independent visionary fiercely committed to women’s health, and Gwen (Wunmi Mosaku), an activist who dreams of a day when all women will have access to abortion, regardless of their ability to pay. Joy is so inspired by their work, she decides to join forces with them, putting every aspect of her life on the line.
Chicago, 1968. As the city and the nation are poised on the brink of political upheaval, suburban housewife Joy (Elizabeth Banks) leads an ordinary life with her husband and daughter. When Joy’s pregnancy leads to a life-threatening heart condition, she must navigate an all-male medical establishment unwilling to terminate her pregnancy in order to save her life. Her journey for a solution leads her to Virginia (Sigourney Weaver), an independent visionary fiercely committed to women’s health, and Gwen (Wunmi Mosaku), an activist who dreams of a day when all women will have access to abortion, regardless of their ability to pay. Joy is so inspired by their work, she decides to join forces with them, putting every aspect of her life on the line.
- 2/4/2022
- by Anthony D'Alessandro
- Deadline Film + TV
On a balmy Labor Day weekend, four best friends find a dead body in the woods, the discovery marking an end of innocence as adolescence beckons. If you think you’ve seen this one before, “Summering” makes no apology for the resemblance. Right down to a stolen pistol shoved in a backpack, James Ponsoldt’s unhurried, sun-kissed coming-of-age drama plays as an all-female homage to Rob Reiner’s “Stand By Me” — a reference that won’t mean much to the pre-teen girls at whom it’s aimed, but may make some of their parents a little misty-eyed. Yet nostalgia may be the strongest emotion engendered by this breeze-blown dandelion seed of a film, which nods to the bittersweet complexities of growing up and confronting adulthood, but never gets as far as fully dramatizing them.
As such, “Summering” is a pleasant enough watch for patient, thoughtful children and their elders alike,...
As such, “Summering” is a pleasant enough watch for patient, thoughtful children and their elders alike,...
- 1/23/2022
- by Guy Lodge
- Variety Film + TV
It makes sense that one of the protagonists of “Materna” is a fan of Jean-Pierre Melville’s existential neo-noir “Le Samouraï,” given that David Gutnik’s feature debut is itself a tapestry of modern alienation and disaffection. Charting the plights of four women whose paths eventually cross on a New York City subway train, Gutnik’s fragmented feature debut is rooted in fraught mother-daughter dynamics and intertwined issues of regret, resentment, racism, classism and homophobia.
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
Having won prizes for best actress (Assol Abdullina) and best cinematography at the pandemic-pinched 2020 Tribeca Film Festival, it should entice audiences in search of distinctive art-house fare when it debuts in limited release on Aug. 6 (ahead of an Aug. 10 VOD premiere), even if
Co-written with leads Abdullina and Jade Eshete, Gutnik’s film begins in a New York City subway car whose crowd includes a quartet of women — later identified as Jean (Kate Lyn Sheil...
- 8/6/2021
- by Nick Schager
- Variety Film + TV
There are few boundaries on public transportation, at least not physical ones. Crammed together in small spaces for oftentimes unexpected lengths of time, people who don’t normally interact are suddenly forced into each others’ orbits. Such is the concept behind Tribeca winner “Materna,” which uses the New York City subway system as a meeting point for four seemingly very different women, all of whom are forced to deal with an unexpected encounter and the impact it has on their lives. At its heart, motherhood and questions of feminine identity burn bright.
The film is the directorial debut of David Gutnik, who is also the editor of several acclaimed features, including Christina Choe’s 2018 Sundance award-winning drama “Nancy.” Gutnik wrote the film alongside two of his stars, Jade Eshete (“Billions” and “High Maintenance”) and Assol Abdullina (in one of her first film roles), and the film also features leading roles...
The film is the directorial debut of David Gutnik, who is also the editor of several acclaimed features, including Christina Choe’s 2018 Sundance award-winning drama “Nancy.” Gutnik wrote the film alongside two of his stars, Jade Eshete (“Billions” and “High Maintenance”) and Assol Abdullina (in one of her first film roles), and the film also features leading roles...
- 7/12/2021
- by Kate Erbland
- Indiewire
Utopia has acquired worldwide rights to David Gutnik’s “Materna” ahead of the film’s in-person debut at this year’s Tribeca Film Festival.
The movie looks at four women, whose lives intersect during an incident on a New York City subway. Kate Lyn Sheil (“She Dies Tomorrow”), Jade Eshete (“Billions”), Lindsay Burdge (“Black Bear”), Assol Abdullina (“First Snow”), Michael Chernus (“Orange Is the New Black”), Rory Culkin (“Castle Rock”) and Sturgill Simpson (the upcoming “Killers of the Flower Moon”) all star. Abdullina and Eshete co-wrote the screenplay with Gutnik.
According to the official logline: “‘Materna’ follows the journeys of four New York women who are isolated by city life, separated by class, politics, race and religion, and yet bound by a shared hunger for identity and connection. With their futures at stake, the characters’ lives are upended by a fateful encounter underground, where their stories of personal transformation become a battle for survival.
The movie looks at four women, whose lives intersect during an incident on a New York City subway. Kate Lyn Sheil (“She Dies Tomorrow”), Jade Eshete (“Billions”), Lindsay Burdge (“Black Bear”), Assol Abdullina (“First Snow”), Michael Chernus (“Orange Is the New Black”), Rory Culkin (“Castle Rock”) and Sturgill Simpson (the upcoming “Killers of the Flower Moon”) all star. Abdullina and Eshete co-wrote the screenplay with Gutnik.
According to the official logline: “‘Materna’ follows the journeys of four New York women who are isolated by city life, separated by class, politics, race and religion, and yet bound by a shared hunger for identity and connection. With their futures at stake, the characters’ lives are upended by a fateful encounter underground, where their stories of personal transformation become a battle for survival.
- 4/28/2021
- by Brent Lang
- Variety Film + TV
Comedians going dark can sometimes lead to a real cinematic discovery. They don’t even need to necessarily go dark, but to show another side of themselves is often a joy to witness. Look no further than Adam Sandler’s revelatory turn last year in Uncut Gems, continuing what he’s been able to show in work like Punch Drunk Love. Now, Sandler’s pal Kevin James takes a crack at it in the thriller Becky, a gory gender swapped take on material covered far lighter in Home Alone. James is certainly chillingly evil here, but the mean streak, especially in relation to dogs, found here ends up soiling the picture. The movie is a thriller, beginning with some father/daughter drama. Becky (Lulu Wilson) is headed to her family’s lake house with her father Jeff (Joel McHale) and their two dogs, sometime after her mother/his wife has passed away.
- 6/4/2020
- by Joey Magidson
- Hollywoodnews.com
Chicago – “The show must go on … “ That became the rallying cry of the 2020 Tribeca Film Festival, which was physically postponed because of the Covid pandemic (it was originally scheduled from April 15-26). Despite that unexpected turn, the Festival went online, named juries and awarded honors to films on April 29th.
The top prizes went to “The Half of It,” directed by Alice Wu (Best U.S. Narrative), “The Hater,” directed by Jan Komasa (Best International Narrative) and “Socks on Fire,” directed by Bo McGuire (Best Documentary).
Best U.S. Narrative Feature is ‘The Half of It,’ directed by Alice Wu
Photo credit: Tribeca Film Festival
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation.
The top prizes went to “The Half of It,” directed by Alice Wu (Best U.S. Narrative), “The Hater,” directed by Jan Komasa (Best International Narrative) and “Socks on Fire,” directed by Bo McGuire (Best Documentary).
Best U.S. Narrative Feature is ‘The Half of It,’ directed by Alice Wu
Photo credit: Tribeca Film Festival
Awards were distributed in the following feature film competition categories – U.S. Narrative, International Narrative, Documentary, New Narrative Director, and the Nora Ephron Prize, honoring a woman writer or director. Awards were also given in the short film categories – Narrative, Documentary, Student Visionary and Animation.
- 4/30/2020
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This evening, Tribeca Film Festival revealed the Jury-selected winning titles from the 19th annual confab, which was forced to postpone its originally scheduled April gathering in response to the global health crisis. Top honors went to Alice Wu’s Netflix coming-of-age dramedy The Half of It, which picked up The Founders Award for Best U.S. Narrative Feature, while The Hater was named Best International Narrative Feature, and Socks On Fire nabbed Best Documentary Feature.
In addition, Best U.S narrative feature screenplay went to Anna Kerrigan for Cowboys, a film that also earned a best actor nod for its star Steve Zahn. Assol Abdullina was awarded best actress for her performance in Materna. Also announced were the winners in the shorts program.
Soon after announcing the delay of its 2020 edition, Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal told Deadline that the org was looking into...
In addition, Best U.S narrative feature screenplay went to Anna Kerrigan for Cowboys, a film that also earned a best actor nod for its star Steve Zahn. Assol Abdullina was awarded best actress for her performance in Materna. Also announced were the winners in the shorts program.
Soon after announcing the delay of its 2020 edition, Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal told Deadline that the org was looking into...
- 4/29/2020
- by Amanda N'Duka
- Deadline Film + TV
“The Half of It,” a coming-of-age drama written and directed by Alice Wu, and actors Steve Zahn and Assol Abdullina were among the winners of the 2020 Tribeca Film Festival’s slate of juried awards.
“The Half of It,” which will be released on Netflix on May 1, follows a shy, straight-a student named Ellie Chu who makes some extra money by writing papers for her high school peers. She reluctantly agrees to write a love letter for a lovesick jock to his crush, a girl Ellie also secretly loves. All three students go on a journey of complicated friendship and self-discovery in the drama-comedy film.
The Polish film “The Hater” by Jan Komasa won for best international narrative feature and “Socks on Fire” directed by Bo McGuire won for best documentary feature.
Due to the coronavirus pandemic halting most in-person award shows, this year’s Tribeca winners were announced on Instagram.
“The Half of It,” which will be released on Netflix on May 1, follows a shy, straight-a student named Ellie Chu who makes some extra money by writing papers for her high school peers. She reluctantly agrees to write a love letter for a lovesick jock to his crush, a girl Ellie also secretly loves. All three students go on a journey of complicated friendship and self-discovery in the drama-comedy film.
The Polish film “The Hater” by Jan Komasa won for best international narrative feature and “Socks on Fire” directed by Bo McGuire won for best documentary feature.
Due to the coronavirus pandemic halting most in-person award shows, this year’s Tribeca winners were announced on Instagram.
- 4/29/2020
- by Jordan Moreau
- Variety Film + TV
The Tribeca Film Festival unveiled its awards in the jury competition for the movies that were to show at the postponed festival, recognizing Alice Wu’s “The Half of It” with the top prize in the narrative competition and Steve Zahn with the Best Actor prize for his work in “Cowboys.”
The New York festival was meant to take place April 15-26 for its 19th edition, and while the festival still plans on screening the accepted films in some form in 2020, no details have been set.
“The Half of It” was honored with The Founders Award for Best U.S. Narrative Feature. “The Hater” won Best International Narrative Feature, and “Socks On Fire” won Best Documentary Feature.
Also Read: Tribeca Film Festival to Debut Select Programming Online
Shorts awards went to “No More Wings” for Best Narrative Short, “My Father The Mover” for Best Documentary Short, “Friends” for Best Animated...
The New York festival was meant to take place April 15-26 for its 19th edition, and while the festival still plans on screening the accepted films in some form in 2020, no details have been set.
“The Half of It” was honored with The Founders Award for Best U.S. Narrative Feature. “The Hater” won Best International Narrative Feature, and “Socks On Fire” won Best Documentary Feature.
Also Read: Tribeca Film Festival to Debut Select Programming Online
Shorts awards went to “No More Wings” for Best Narrative Short, “My Father The Mover” for Best Documentary Short, “Friends” for Best Animated...
- 4/29/2020
- by Brian Welk
- The Wrap
Though it postponed its annual in-person gathering, the Tribeca Film Festival on Wednesday handed out awards for the 2020 juried competition. Top narrative and nonfiction honors went to two queer films, Alice Wu’s coming-of-age tale “The Half of It” and Bo McGuire’s hybrid documentary “Socks on Fire,” while Jan Komasa’s “The Hater” won Best International Narrative Feature. Other winners include “Cowboys,” “Materna,” “Kokoloko,” and “Asia.”
In mid-March, festival organizers postponed the festival just weeks before it was set to bow in New York City. In the interim, some programming for the 19th annual festival was made available online, while its brass still hopes to hold a traditional festival in the coming months.
“We are fortunate that technology allowed for our jury to come together this year to honor our filmmakers,” said Tribeca co-founder and CEO Jane Rosenthal in an official statement. “Despite not being able to be together physically,...
In mid-March, festival organizers postponed the festival just weeks before it was set to bow in New York City. In the interim, some programming for the 19th annual festival was made available online, while its brass still hopes to hold a traditional festival in the coming months.
“We are fortunate that technology allowed for our jury to come together this year to honor our filmmakers,” said Tribeca co-founder and CEO Jane Rosenthal in an official statement. “Despite not being able to be together physically,...
- 4/29/2020
- by Chris Lindahl
- Indiewire
“Light from Light” is about a paranormal investigator who comes to the aid of a grieving widower possibly receiving messages from his late wife. Supernatural horror and bloodshed inevitably ensue — or would, in just about any other movie with that premise. In this movie, however, there are no jump scares, in fact no scares whatsoever, and the quiet “buildup” leads to an equally quiet resolution.
Neither thriller nor sentimental whimsy, Paul Harrill’s second feature is a quietly matter-of-fact drama that utilizes a “haunting” story hook for non-religious yet affirming ends. Its micro-budget modesty of look and tone abet an ultimately quite moving impact, even if they may also limit commercial exposure.
Though probably not yet 35, Sheila (Marin Ireland) already has the wariness of someone who’s been disappointed enough in life to expect the remainder will be disappointing, too. She’s a single mom to a nice teenager, Owen...
Neither thriller nor sentimental whimsy, Paul Harrill’s second feature is a quietly matter-of-fact drama that utilizes a “haunting” story hook for non-religious yet affirming ends. Its micro-budget modesty of look and tone abet an ultimately quite moving impact, even if they may also limit commercial exposure.
Though probably not yet 35, Sheila (Marin Ireland) already has the wariness of someone who’s been disappointed enough in life to expect the remainder will be disappointing, too. She’s a single mom to a nice teenager, Owen...
- 2/10/2019
- by Dennis Harvey
- Variety Film + TV
Coming-of-age thriller stars Sofia Hublitz from Ozark, Madelyn Cline of Stranger Things, Boy Erased.
Saboteur Media will handle worldwide sales rights to Afm-bound What Breaks The Ice, a thriller mentored by Richard Linklater that features rising stars from hit shows like Ozark, Glow, and Stranger Things.
The coming-of-age thriller centres on two 15-year-old girls whose summer takes an unexpected turn when they become accidental accomplices in a fatal crime.
Sofia Hublitz (Ozark), Madelyn Cline, Joel Allen (Never Goin’ Back), Shakira Barrera (Glow), Erik Jensen (Messengers), Catherine Curtin and Aimee Mullins (Stranger Things) star.
Rebecca Eskreis makes her feature directorial debut,...
Saboteur Media will handle worldwide sales rights to Afm-bound What Breaks The Ice, a thriller mentored by Richard Linklater that features rising stars from hit shows like Ozark, Glow, and Stranger Things.
The coming-of-age thriller centres on two 15-year-old girls whose summer takes an unexpected turn when they become accidental accomplices in a fatal crime.
Sofia Hublitz (Ozark), Madelyn Cline, Joel Allen (Never Goin’ Back), Shakira Barrera (Glow), Erik Jensen (Messengers), Catherine Curtin and Aimee Mullins (Stranger Things) star.
Rebecca Eskreis makes her feature directorial debut,...
- 10/18/2018
- by Jeremy Kay
- ScreenDaily
Editor Augustine Frizzell makes her feature directorial comedy with the loose comedy Never Goin’ Back, starring Maia Mitchell and Cami Morrone as two best friends whose planned week off at the beach will not be canceled despite being burgled, behind on rent and the fact that they might lose their jobs. Dp Greta Zozula already spoke to some of the challenges of production here; editor Courtney Ware offers more insight on cutting a comedy alongside the shoot. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired […]...
- 1/30/2018
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Actor and filmmaker Augustine Frizzell made her debut as a feature director at Sundance this year with Never Goin’ Back, the shaggy-dog story of two teenage friends played by Maia Mitchell and Camila Morrone. Frizzell has appeared as an actor in the films of David Lowery (her husband) in addition to Krisha and a number of shorts. She tapped Dp Greta Zozula to shoot the script, which she also wrote. Filmmaker spoke with Zozula ahead of the film’s premiere in the Midnight lineup about the perils of shifting daylight, the influence of Paul Thomas Anderson and the film’s strategic use of handheld camerawork. Filmmaker: […]...
- 1/30/2018
- by Filmmaker Staff
- Filmmaker Magazine - Blog
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