EXCLUSIVE
interview with director
Jordan Vogt-Roberts about his new film
THE KINGS OF SUMMER
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table of
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Trance
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Much Ado About Nothing
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I'm So Excited!
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Fill the Void
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Director: Danny Boyle
Director: Joss Whedon
Director: Pedro Almod贸var
Writer & Director: Rama Burshtein
Love Is All You Need Writer & Director: Susanne Bier
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At Any Price
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The Kings of Summer
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The Company You Keep
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Film Previews
Director: Ramin Bahrani
Director: Jordan Vogt-Roberts
Director: Robert Redford
A look at 39 upcoming releases
Trance
I'm So Excited!
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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
Love Is All You Need
10
The Company You Keep
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.
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Trance features three main roles with the same intense challenge: none of them is who or what they might seem at first meeting. These uniquely unreliable protagonists, each mired in the mysteries of identity, attraction and illusion, would require careful casting, but drew the kind of talented actors who hanker for complex roles. “The story’s got three excellent parts in it and they battle for who’s at the center of the film,” comments director Danny Boyle. “That triangle is a lovely dynamic to have in place as you can play with the question of which character the story belongs to. The film certainly starts as Simon’s story but by the end it has become more Franck’s—and Elizabeth exerts a strong gravitational pull of her own.”
directed by D an n y Bo y l e
F
resh off a 2013 Oscar®-nominated, an Olivier Award®-winning stage production of “Frankenstein” and the triumphant 2012 Summer Olympics Opening ceremonies, Trance returns Academy Award®-winning director Danny Boyle (127 Hours, Slumdog Millionaire, Sunshine) to the territory that kick-started his visionary filmmaking career. In his directorial debut, Shallow Grave, Boyle mixed ink-black humor, psychological thrills and hardedged style in a story of friends pushed to intense levels of paranoia and deceit. Now with Trance, Boyle dives back into the heart of extreme human behavior, this time taking audiences on the journey into the fluid, enticing, unreliable world of the subconscious. Trance begins with an adeptly-planned heist at an auction house that goes violently awry when the auctioneer inside man takes a blow to the head leaving him with no memory of where he stashed the stolen Goya painting. The story quickly turns into a highstakes triangle—the painting’s amnesiac thief (James McAvoy), his fearsome partner in crime, gang-leader (Vincent Cassel), and the alluring hypnotist (Rosario Dawson) hired to help recover his lost memories—as they all become trapped together in a brain-bending puzzle of their own making. The more they search for the missing Goya, the more it becomes clear that what is hidden is not just a priceless work of art, but fractured fragments of secrets, temptations, and treacheries that all add up to the truth.
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Taking the role of Simon is James McAvoy, who has won global fans and accolades at the head of the X-men in X-Men: First Class. McAvoy felt a magnetic attraction to this new role. “I was completely blown away by this mind-bending, genre-bending, psychological heist movie,” he says. “When I auditioned for Danny, he was incredible. I’ve rarely been directed in an audition so interestingly. That made me desperate to get the part. Luckily for me he phoned up and said, ‘Would you like to do it?’ Every day on set has been like that—just discovering this script, which is brave, bold and challenging for a performer.” Boyle was surprised by McAvoy. “I thought he might be a bit young for it but when we met it was really interesting because the part makes him seem older,” the director observes. “It was fantastic the way he grew into it. I find myself entirely addicted to James, who does a wonderful job. It’s a very complicated part because we’re never sure where his conscience lies.” Simon’s confusion about his own identity, actions and conscience accelerates throughout the film, building to a fever pitch, exhilarating McAvoy as he took on the role. “Normally, we remember what we’ve done—the brain does that as a full-time job—and that’s how we identify and see ourselves. But Simon can’t remember who he is properly. He’s had a bang on the head and something is missing. Things don’t make sense. All he knows is that there’s something huge not right in his life.” All of this internal chaos demanded a highly creative reaction from McAvoy. “It’s a film where you really get to explore the boundaries of what’s strange and odd,” he summarizes. “All of the situations Simon finds himself in are slightly off and unexpected, altered in some way. And
“I’ve never played anyone even remotely like her,” says Dawson of Elizabeth Lamb. “Elizabeth is totally different because she’s hiding everything. Everything is subtle— completely unspoken. And she’s a wonderful presence to have between these two guys.”
as he gets closer to his lost memories, it has huge repercussions for everyone involved.” Simon’s lost memories are equally important to Franck, the sophisticated art thief who is aghast that his carefully-plotted, high-end art heist has taken a strange turn into amnesia and the secrets of the human mind. Franck is played by French actor Vincent Cassel, who was recently seen in Darren Aronofsky’s dark psychosexual thriller Black Swan, and he says that the script for Trance seduced him with its twists and turns. “What I liked about the film is that it starts as something normal but by the 25th page it becomes something else entirely. It's a genre bender. It really messes with you,” says Cassel. “It’s not quite clear who's good or who's bad. At first, you might think one thing and then it becomes something else and then, by the end, it's something else entirely. Characters evolve. You get caught when you judge somebody. Suddenly you realize that it's not exactly what you thought it was.”
One of the most intriguing aspects of Trance for Boyle was the chance to present a woman as an equal player in a crime thriller. “You make all these films and you have great women in them, but they’re basically about guys—Ewan McGregor, Cillian Murphy, Dev Patel, James Franco or Leonardo DiCaprio. So what I love about Trance is there’s a woman most definitely right in the thick of it, holding her own.” With three powerful characters battling to pull the audience in any direction at any moment, Editor Jon Harris had to strike a tricky balance. “It’s like the ingredients for a cake,” he says. “One key ingredient left out and the whole thing will go flat. It became a back-and-forth process of playing with those ingredients in a way that keeps the audience guessing.”
Click here to watch the official movie trailer.
The final and most alluring leg of the triangle belongs to the coolly charismatic hypnotist Elizabeth Lamb, who as played by actress Rosario Dawson becomes a very modern re-model of the classic femme fatale. At first she seems like she might be just an eye-catching, overconfident pawn in an all-male game, but Elizabeth’s true power begins to emerge as the story unravels.
As the star of Sin City, Seven Pounds and He Got Game, Dawson has worked with many of the world’s leading directors, from Spike Lee to Quentin Tarantino, Chris Columbus and the late Tony Scott— but this role broke every mold she could imagine.
summer 2013
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h c u M
o b A Ado
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he ss W o J by cted e r i d
don
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n Much Ado About Nothing, Leonato (Clark Gregg), the governor of Messina, is visited by his friend Don Pedro (Reed Diamond) who is
returning from a victorious campaign against his rebellious brother Don John (Sean Maher). Accompanying Don Pedro are two of his officers, Benedick (Alexis Denisof) and Claudio (Fran Kranz). While in Messina, Claudio falls for Leonato’s daughter Hero (Jillian Morgese), while Benedick verbally spars with Beatrice (Amy Acker), the governor’s niece. The Budding love between Claudio and Hero prompts Don Pedro to arrange with Leonato for a marriage. In the days leading up to the ceremony, Don Pedro, with the help of Leonato, Claudio and Hero, attempts to sport with Benedick and Beatrice in an effort to trick the two into falling in love. Meanwhile, the villainous Don John, with the help of his allies: Conrade (Riki Lindhome) and Broachio (Spencer Treat Clark), plots against the happy couple, using his own form of trickery to try to destroy the marriage before it begins. A series of comic and tragic events continue to keep the two couples from truly finding happiness but, then again, perhaps love may prevail.
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In the late summer of 2011, Joss Whedon completed principal photography on Marvel’s The Avengers. Upon his return to Los Angeles, Whedon was contractually obligated to take a week off before beginning his director’s cut of the film. Rather than travel to an exotic location or disconnect from the world and unwind, Whedon and his wife, producer Kai Cole, chose to invite some of their close friends over and make a movie. Over the next 12 days, this close-knit gang of friends and Shakespeare fans made what would be Much Ado About Nothing.
Over the last 400 years, Shakespeare’s plays have continued to intrigue and excite audiences. They have been performed in every medium imaginable. There is a quality to his work that continues to evolve beyond the style and structure of the plays from that era. Much Ado About Nothing is the kind of witty and acerbic comedy that still manages to inform love. The self-doubt, humility and growth that everyone must go through in the pursuit of love is something unchanged for much more than those 400 years. Whedon and Cole had organized readings of Shakespeare with friends and colleagues for many years. Actors who had been theatrically trained as well as those who had never read Shakespeare would come to their home and perform these classic texts. When Whedon told his invited friends he was going to film Much Ado About Nothing, none of the actors batted an eye as most of them thought it would be just another reading—perhaps with a camera somewhere recording the session. To their surprise they arrived to a hustling and bustling film set complete with catering, costumes and an entire crew ready to shoot! Casting wasn’t about auditions as much as Joss extending invitations to friends whom he had worked with as well as some he had hoped to work with
for the first time. Some of these actors were trained and others had never performed Shakespeare in their lives. The location was also of particular importance to the movie because it was Joss and Kai’s personal home. Kai Cole is an architect and had designed every inch of the house to be an open and beautiful environment for their family. It was only natural that the movie should be set in a place they all knew so well suiting a play set in a single large room the didn’t require filming permits. Immediately after production Whedon had to begin post-production on The Avengers. He and his assistant Daniel Kaminsky wound up editing Much Ado About Nothing on a laptop between lunch breaks and on weekends. It would be another seven months before The Avengers was completed and Joss had time to dive into postproduction of Much Ado About Nothing. Continuing in the DIY ethos that guided production and post, Much Ado About Nothing marks Joss Whedon’s debut as a cinematic composer. He, along with Music Supervisor Clint Bennett, designed a simple system that allowed Joss to create melodies and structure on his own. Deborah Lurie was then brought on to help arrange those “sketches” and themes into the score that would later be performed by musicians. Joss’s brother Jed Whedon contributed to the music as well by co-writing, performing and producing a number of the “needledrop” moments in the film. The filmmakers hope that the result is a reflection of the joy and freedom the cast and crew had in making Much Ado About Nothing. They hope that audiences will see something that is true to the original text while being intricate and compelling as any contemporary film. Click here to watch the official movie trailer.
summer 2013
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` directed by Pedro Almodovar
A
very varied group of people are in a precarious situation aboard a plane flying to Mexico City.
A technical failure (a kind of justifiable negligence, even though it sounds contradictory, but that’s what human actions are) has endangered the lives of the passengers on Peninsula Flight 2549. The pilots, hardened, experienced professionals, are striving, along with their colleagues in the Control Center, to find a solution. The flight attendants and the chief steward are atypical, baroque characters who, in the face of danger, try to forget their own personal problems and devote themselves body and soul to the task of making the flight as enjoyable as possible for the passengers while they wait for a solution. Life in the clouds is as complicated as it is at ground level and for the same two reasons: sex and death.
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The travelers in Business Class consist of a pair of newlyweds, partygoers worn out by their wedding celebration; a financier and embezzler, unscrupulous in business but also a father afflicted by his daughter’s estrangement; an inveterate Don Juan with an uneasy conscience who is trying to say goodbye to one of his women (girlfriends); a rural psychic; a queen of the gossip magazines; and a Mexican with an important secret. Each of them has a project in Mexico City, either to work or to escape. They all have some kind of secret, not just the Mexican. Their defenselessness in the face of danger provokes a general catharsis among the passengers and the crew, and this ends up becoming the best way to escape from the idea of death. This catharsis, developed in the tone of a riotous, moral comedy, fills the time with sensational confessions that help them forget the anguish of the moment.
BIOGRAPHY OF PEDRO ALMODOVAR Pedro Almodóvar was born in Calzada de Calatrava, province of Ciudad Real, in the heart of La Mancha, in the 50's. When he was eight, he immigrated with his family to Estremadura. There he studied for his elementary and high school diplomas with the Salesian Fathers and the Franciscans. He left home at seventeen and moved to Madrid with no money and no job but with a very specific goal in mind: to study cinema and direct films. It was impossible to enroll in the Official Film School because Franco, the Dictator of Spain, had just closed it. Despite the suffocating political environment of the country, for an adolescent from the provinces Madrid represented culture, independence and freedom. He worked sporadic jobs but couldn’t buy his first Super-8mm camera until he got a “serious” job at the National Telephone Company of Spain in 1971. He worked there for twelve years as an administrative assistant, spending his extra time training as a filmmaker. In the mornings at the Telephone Company he got an in-depth knowledge of the Spanish middle class at the start of the consumer era, the seventies, its dramas and its misfortunes—a real gold mine for a future storyteller. In the evenings and nights he wrote, loved, acted with the mythical independent theatre group Los Goliardos and made films in Super-8 (his only school as a filmmaker). He collaborated with various underground magazines and wrote stories, some of which were published. He was a member of a parodic punk-rock group, Almodóvar and McNamara, etc. And he had the good fortune that his personal artistic explosion coincided with the explosion of democracy in Madrid during the early 80's—a period the world knew as La Movida. His films are the heirs and the witnesses of the brand new Spanish democracy. After a year and a half of eventful shooting on 16mm, in 1980 he opened “Pepi, Luci, Bom”, a no-budget film made as a cooperative effort with the rest of the crew and cast, all beginners except for Carmen Maura. In 1986 he founded the production company El Deseo S.A. with his brother Agustín. Their first project was Law of Desire. Since then they have produced all the films that Pedro has written and directed and have also produced other young directors.
In 1988, Women on the Verge of a Nervous Breakdown brought him international recognition. Since then his films have opened all around the world. With All About My Mother he won his first Academy Award® for Best Foreign Film and also the Golden Globe®, the César, 3 European Film Awards, the David de Donatello, 2 BAFTAs, 7 Goyas and 45 other awards. Three years later, Talk to Her had the same or better fortune (Academy Award® for Best Script, 5 European Film Awards, 2 BAFTAs, the Nastro de Argento, the César and many other awards throughout the world but not in Spain). He produced four very special films, highly rated throughout the world for their valour and delicacy (My Life Without Me, The Holy Girl, The Secret Life of Words and The Headless Woman, by Isabel Coixet and Lucrecia Martel alternatively). In 2004, Bad Education was chosen to open the Cannes Festival. It received extraordinary reviews throughout the world. It was nominated for numerous awards (Independent Spirit Awards, BAFTAs, César, European Film Awards) and won the prestigious Award for Best Foreign Film given by the New York Critics’ Circle and also the Nastro de Argento. In 2006 he was awarded with the Prince of Asturias Award to the Arts. That very same year he presented Volver in competition in the Cannes Film Festival where it garnered the Best Screenplay Award as well as the Best Actress Award for the six actresses in the film, leaded by Penélope Cruz. The film received 5 EFA awards, 5 Goya awards, the Fipresci award, the National Board of Review and over 70 others. Penélope was nominated for the Best Actress Academy Award, the first time a Spanish actress was nominated for a Spanish-speaking film. In 2009, Almodovar directed Broken Embraces and in 2011 he released The Skin I Live In. This summer, Sony Pictures Classics will release Almodo'var's I'm So Excited! in select theatres nationwide. Click here to watch the official movie trailer.
summer 2013
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FILLtheVOID written & directed by Rama Burshtein
F
ill the Void tells the story of an Orthodox Hassidic family from Tel Aviv.
Eighteen-year-old Shira is the youngest daughter of the family. She is about to be married off to a promising young man of the same age and background. It is a dream-come-true, and Shira feels prepared and excited. On Purim, her twenty-eight-year-old sister Esther dies while giving birth to her first child. The pain and grief that overwhelm the family postpone Shira’s promised match. Everything changes when an offer is proposed to match Yochay—the late Esther‘s husband—to a widow from Belgium. Yochay feels it‘s too early, although he realizes that sooner or later he must seriously consider getting married again. When the girls’ mother finds out that Yochay may leave the country with her only grandchild, she proposes a match between Shira and the widower. Shira will have to choose between her heart’s wish and her family duty.
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Director Rama Burshtein was born in New York in 1967. She graduated from the Sam Spiegel Film and Television School in Jerusalem in 1994. During those years, Rama became deeply religious and upon her graduation she dedicated herself to promoting film as a tool for self expression in the Orthodox community. In her own words, Rama shares her thoughts and feelings about her first feature film Fill the Void.
mute. It’s fine for someone on the outside to interpret us as long as someone on the inside is telling a story. Our political voice is loud—even boisterous—but our artistic and cultural voice remains muffled and faint. I’m not good at agendas and politics. What I am good at is telling a story. I’m good at telling about those things I’m passionate about, and what can I do? They are all tied to the ultra-Orthodox world of observance.
Story It began with the fact that my work has always focused on relationships between men and women. Marriages are never forced in Judaism. In the Hasidic world in which this film is set, parents do raise proposed matches with their children, but even then the young couple must agree. I was chatting with someone at the wedding of a friend’s daughter when a pretty young girl no older than eighteen came up to our table. She was wearing a gold watch, diamond earrings, and a ring that highlighted the stone in its setting—a clear indication that she was recently engaged. My friend congratulated her with a warm mazal tov but, still there was something a little odd about their conversation. When the girl left, my friend said to me: “Did you see that pretty young thing? She got engaged a month ago to the husband of her late sister.” That was all I needed to set my imagination into overdrive. All it needed was a brief time to stew within me before I came up with the outline for the story of Fill the Void.
Motivation I set out on this journey out of a deep sense of pain. I felt that the ultra-Orthodox community has no voice in the cultural dialogue. You might even say we are
Fill the Void has nothing whatsoever to do with the religious-secular dialogue. That doesn’t interest me quite as much. Fill the Void opens a peephole into a tiny story taken from a very special and complex world. By its very definition, it avoids making any comparison between the two worlds. It has enough self-confidence to tell its own story. I believe that the only way to bridge these two worlds is through unprejudiced honesty. If there is to be such a bridge, it must emerge from some common denominator that can be found in the heart.
Jane Austen I love Jane Austen. She’s romantic, intelligent, and full of humor. I read her as a girl and I’ve seen films based on her work. The parallel is also quite obvious in that Fill the Void takes place in a world where the rules are rigid and clear. The characters are not looking for some way to burst out of that world. Instead, they are trying to find a way to live within it. Fill the Void has a historical air about it. It could just as easily have been located in the Poland of the last century, in Brooklyn, or now in Tel Aviv. It is somewhat cut off from the modern world, and the complications that make up the plot and their resolution have much in common with the way Jane Austen tells a story.
Click here to watch the official movie trailer.
summer 2013
| FILM GUIDE
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LOVE IS ALL YOU NEED
directed by Susanne Bier
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hilip (Brosnan), an Englishman living in Denmark, is a lonely, middle-aged widower and estranged single father. Ida (Dyrholm) is a Danish hairdresser, recuperating from a long bout of illness, who’s just been left by her husband for a younger woman Tilde. The fates of these two bruised souls are about to intertwine as they embark for a trip to Italy to attend the wedding of Patrick and Astrid, Philip’s son and Ida’s daughter. Love Is All You Need is a film about the simple yet profound pains and joys of moving on—and forward—with your life.
After a string of intense dramas, Susanne Bier turns to comedy in Love Is All You Need, set in sunny Sorrento, Italy, and with the romantic pairing up of Pierce Brosnan and Trine Dyrholm. Mike Goodridge from Screen International recently talked to the director about the nerve-wracking joy of winning an Oscar, her collaboration with writer Anders Thomas Jensen and how to balance uncomfortable subject matter with all the charms of a Rom-Com. “I think I am very romantic,” laughs Susanne Bier. “I think there has always been a contradiction between what people expected from me as a director and who I was. And I guess with this film there is less of a difference between who I am and what the movie is like.” The film is Love Is All You Need, a delicious romantic comedy set over a wedding weekend in Sorrento where a host of characters fall in and out of love. Bathed in sunshine, lemon groves and beautiful sunsets, it’s Bier’s first romantic comedy since 1999 when she broke Danish box office records with The One and Only. Since then she has become internationally acclaimed for a string of powerfully intense dramas revolving around moral dilemmas, kicking off with her Dogme film Open Hearts, followed by Brothers, After the Wedding, for which she was Oscar®-nominated, the U.S.set Things We Lost in the Fire and In a Better World for which she won the Oscar in 2011. And as you would expect from a filmmaker with those extraordinary films under her belt, this is no bland romantic comedy with twodimensional characters. “The exciting thing about a romantic comedy is not
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who’s going to find each other but the journey of how they will get together,” Bier explains. “We have done a number of dramas where we dealt with the notion of “what if.” And with this film we had this woman in a very unhappy and lonely situation and we wanted to bring her back to a joyful state.” “But,” she cautions, “you can’t be heavy handed in a romantic comedy. You have to be emotionally engaging. So you have a character for whom you feel sorry but this person has to have a lot of charm and unpredictability.” For the part of Ida, Bier cast veteran Trine Dyrholm who played one of the key dramatic parts in In a Better World. “I think it was fun for her because she has been playing characters on the dark side for a while,” says Bier, “and at the beginning I think she was afraid of playing it so light. Ida is someone who maintains high spirits even when things are really awful. I would say she is slightly inspired by my mother who also had cancer but always managed to see the positive side of things. We wanted the character to have traces of that: it’s intrinsic to who she is that she would at all times choose the positive way.” For Dyrholm, it was a challenging balancing act to maintain that sunny nature without being irritating either to those around her or the audience. “You must never sense that this woman is stupid,”
says Bier, “because she is not.” Meanwhile as Philip, Bier cast the legendary Pierce Brosnan, who gives one of his most vulnerable performances to date. Bier always wanted the character to be a foreigner living in Denmark to further heighten his isolation. “For this character to be lonely, almost alienated in Copenhagen, it had to be someone who was clearly a foreigner.” “He is a great actor,” says Bier about Brosnan. “He completely understood what the film was about. I think there was a part of him that wanted to do something a little more fragile.” “This film was just as demanding as with a drama,” she says. “Make no mistake, it’s as difficult making a light movie as it is making a more heavy drama. We did have a lot of fun making it, but the laughter didn’t necessarily go hand in hand with the material.” Explaining that she is resolutely not a “careerist”, Bier returns to why she felt the need to get romantic with this latest film. “You aren’t really allowed to be overtly romantic today. Even in the good romantic comedies there’s always an element of cynicism. I wanted to make one that is not cynical but which I would still like to see. That meant it had to have some real content. There had to be some edges to it. But, most important” says Bier, “I didn’t want it to be cynical.” Click here to watch the official movie trailer.
directed by Ramin Bahrani
I
n the competitive world of modern agriculture, ambitious Henry Whipple (Dennis Quaid) wants his rebellious son Dean (Zac Efron) to help expand his family’s farming empire. However, Dean has his sights set on becoming a professional race-car driver. When a high-stakes investigation into their business is exposed, father and son are pushed into an unexpected crisis that threatens the family’s entire livelihood.
with a sharply de-romanticized view of modern farming. “I spent about six months in the midwest observing the life of farmers,” says writer/director Ramin Bahrani about his heartland portrait. “I’d ride with the farmers in their massive 48-row air-conditioned GPS planters and they’d talk to me, almost like a therapy session. A lot of the stories and emotions in the movie came from those conversations with real farmers.”
The fiercely competitive world of high-tech agribusiness is the backdrop for AT ANY PRICE, a drama that melds timeless themes of fathers and sons, ambition and rebellion, morality and survival,
Henry: Salesman on the Prairie
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Those driven agribusinessmen are embodied in Henry Whipple, portrayed with depth and desperation by Dennis Quaid.
“Henry’s a guy with a lot of grey areas,” says Quaid. “He’s devoted to his family but very selfish at the same time. He’s so caught up in the family legacy and expanding his farm that he’s blind to what’s really going on, pretending that they have this great traditional family when everything is twisted under the surface. He’s sweating to keep up a front.” Like Bahrani, Quaid spent time living with Henry’s real-life counterparts to hone his portrayal. “We ate meals with farmers and their families, heard their stories and felt them out. They were very generous in opening up their lives to us. The movie really reflects what is going on in modern-day America, how people are struggling to keep up with the Joneses.”
As Quaid recalls, “When I read the script I thought—it’s Willy Loman on the prairie. We’re really doing Death of a Salesman in a way.”
Dean: The Second Son Zac Efron plays Dean, the underappreciated second son of Henry. Dean’s character traces a trajectory from rebel desperate to escape the family legacy to conspirator desperate to keep the legacy going. Zac Efron takes on this classic archetype and makes it his own. Says Efron: “The key to Dean for me was to figure out the relationship with his father and brother—resenting one and loving the other, his feelings of abandonment and his urge to break free. He’s a renegade younger brother who wishes he could leave like his older brother did, but he’s
confused about his life and his place in the family. I enjoyed acting the dark side of Dean and trusted Ramin to guide me through the experience.”
The Story Ultimately, the story of the Whipple family circles back to the story of the farm. There are at least two starkly contrasting ways of looking at modern high-tech farming, as Bahrani explains: “Our story is Willy Loman popping his head up out of the cornfields saying, “I killed myself for a reason! Why did you all forget?” The whole housing and economic crisis, which has impacted the entire world, is due to people valuing expansion over valuing their families, their communities and themselves. It’s no different than Willy Loman. He valued the idea of having more and getting bigger more than he valued his own life. He knew
that the social world no longer valued him as a human being. And I think that’s where we’re unfortunately heading as a global community. I thought this film could be an alarm bell that would ring out from the cornfields.” On the other hand, Bahrani notes: “I could not meet one old timer who told me, ‘I wish for the old days.’ Every single one told me, ‘I would rather be in this automated tractor with air conditioning that could drive itself with a GPS. Why would I want to kill my back right now? This is much better.’ And there’s the conflict: that progress comes at a price. The Whipples have to choose between the truth or survival and they have to live with trying to succeed at any price. Each of us has to decide for ourselves what our moral compass is, who we are, and what type of world we want to live in.”
Click here to watch the official movie trailer.
summer 2013
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remiering to rave reviews at the 2013 Sundance
Regal Cinema Arts Film Guide had an opportunity to chat with director Jordan Vogt-Roberts about his first feature film The Kings of Summer.
Film Festival, The Kings of Summer is a unique
Film Guide: What first drew you to Chris Galletta’s script?
coming-of-age comedy about three teenage friends—
Jordan Vogt-Roberts: I fell in love when I read the script. Chris has such a unique comedic voice and we both share an extreme reverence for old Amblin movies like The Goonies and other movies from that era like Stand By Me or just about anything John Hughes touched. I miss movies like that because regardless of whether they were funny, adventurous, or heartfelt…. They were complete movies first and
directed by Jordan Vogt-Roberts
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Joe (Nick Robinson), Patrick (Gabriel Basso) and the eccentric and unpredictable Biaggio (Moises Arias) — who, in the ultimate act of independence, decide to spend their summer building a house in the woods and living off the land. Free from their parents’ rules, their idyllic summer quickly becomes a test of friendship as each boy learns to appreciate the fact that family —whether it is the one you’re born into or the one you create—is something you can't run away from.
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foremost. We live in an age of really disposable media and I knew this was a script I could take and give people a reason to see it in a theatre. FG: The film explores a world that is both fantastic but also grounded in very real and authentic emotions. Can you talk about how you worked to create this unique balance? JVR: I think if you ground a movie in real characters and emotion it affords you the ability to play with the ends of any tonal spectrum without breaking tone. It's a really tricky balancing act but extremely rewarding if you can pull it off. Part of it is about easing in the audience to your world and making them enjoy it before you pull it all apart. I find that if you make your characters endearing, regardless or because of their flaws, you can slowly pull the rug out and then when things get fantastical or dark, an audience is willing to go with it because they're invested. The only rules are the ones you create. FG: Like your short film Successful Alcoholics, this film involves navigating a developmental transition (in this case adolescence to adulthood). Is there something about these critical yet common life experiences that intrigues you? JVR: I don't know if I have a specific attraction to those transitions but I wanted someone to walk out of the theatre and think, “Oh my god being 14 was the best most free time in my life!” and then immediately think “I'm so glad I'm done with that because it was also the most painful and awkward time in my life....” I think it's those periods in transition that really shape who you are and who you become. FG: You have some great comedians among the supporting cast including Mary Lynn Rajskub, Hannibal Burress, Kumail Nanjiani and others. With that much comedy talent, did you find ways to allow those actors to improvise and riff? JVR: I love working with comedians. It's important never to lose sight of what a scene is about, but I encourage everyone to riff. I was fortunate to have an incredible comedic cast and there are scenes in the movie that are almost entirely improvised. I sent the kids through improv training as well so they'd feel comfortable if I didn't yell cut right away or if I wanted to change something up on the fly. It was important for me that the movie has a handful of
moments that could only come from the brain of a teenager and improv is a life skill that I think can inform you how to make the small moments big and the big moments small. People often think of improv purely in terms of comedy but I think it's also a real access point to creating something authentic. FG: You do a great job of moving fluidly between drama and comedy moments. Is there something about the odd relationship between dark subject matter and comedy that you enjoy working with? JVR: I guess I don't think there's anything odd about that relationship. I think life is a pretty absurd series of high-highs and low-lows. I find that when you can pull off this balancing act it gives the drama more weight and it makes the comedy funnier while making the both more poignant. I love movies that play with tone or have characters that challenge you. People especially want to put comedy in a very vanilla box but I think comedy can be beautiful, heartbreaking, hilarious, joyous and cinematic. It's tough to do all of those things when you're simply a comedy or simply a drama. Life isn't simple like that so why should a genre be? FG: This was your first feature film. What was your biggest lesson learned from The Kings of Summer? JVR: Fail boldly. Fail bravely. FG: What future projects do you have in the works? Are you looking forward to some time off or are you already sifting through scripts looking for your next project? JVR: I'm always looking for the next thing. We might do a second season of my Comedy Central show Mash Up and I like to take on commercials in between bigger projects. I just want to find a script that I fall in love with as strongly as I did with this movie. CBS Films will be releasing The Kings of Summer this summer! Click here to watch the official movie trailer.
summer 2013
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directed by Robert Redford
I
n The Company You Keep, Jim Grant (Robert Redford) is a public interest lawyer and single father raising his daughter in the tranquil suburbs of Albany, New York. Grant’s world is turned upside down when a brash young reporter named Ben Shepard (Shia LaBeouf) exposes his true identity as a former 1970s antiwar radical fugitive wanted for murder. After living for more than 30 years underground, Grant must now go on the run. With the FBI in hot pursuit, he sets off on a cross-country journey to track down the one person who can clear his name. Shepard knows the significance of the national news story he has exposed and, for a journalist, this is an opportunity of a lifetime. Hell-bent on making a name for himself, he is willing to stop at nothing to capitalize on it. He digs deep into Grant’s past. Despite warnings from his editor and threats from the FBI, Shepard relentlessly tracks Grant across the country. As Grant reopens old wounds and reconnects with former members of his antiwar group, The Weather Underground, Shepard realizes something about this man is just not adding up. With the FBI closing in, Shepard uncovers the shocking secrets Grant has been keeping for the past three decades. As Grant and Shepard come face to face in the wilderness of the Upper Peninsula of Michigan, they each must come to terms with who they really are. “Secrets are dangerous things, Ben. We all think we want to know them. But if you’ve ever kept one yourself then you understand to do so is not just knowing something about someone else, it’s discovering something about yourself.” - Jim Grant
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The Company You Keep can be seen as a cat and mouse game between two men—journalist Ben Shepard (Shia LaBeouf) and fugitive Jim Grant (Robert Redford)—both attempting to expose the truth and, in the process, redefine their lives. While the film, which is set in the present day, recalls the history and aftermath of the radical antiwar protest movement of the late 1960s and early 1970s (and in particular one of its most violent manifestations, The Weather Underground), it remains a work of fiction. Indeed it was the dramatic potential of the story itself, even more so than the meticulously researched underpinnings of Neil Gordon’s 2003 novel, that first attracted Robert Redford to the project.
—and then he just started pumping life into it,” says LaBeouf. “He allowed twenty pages for the script to evolve. He was still comfortable enough to pull the green-light-trigger on it…. And he had the confidence in himself and his team to be able to move forward.”
“I thought it was a good story and it gave you a chance to look inside of an event that is a piece of American history,” says Redford of the film, his first as both actor and director since his 2007 drama, Lions for Lambs. “It truly gets inside how people were living their lives thirty years later… underground and with a false identity.”
“He acts as though he’s completely in control, but he allows his film to be as free as something that has no control or boundaries at all, which allows life to exist … which allows real moments to happen and he maintains structure,” says LaBeouf of Redford. “It’s really amazing what he does and he does it so easily, it seems. That’s the beauty of him.”
“For me it was a bit like Les Misérables, with the character Jean Valjean sentenced to nineteen years for a loaf of bread,” Redford explains. “He escaped from prison, built a false identity, had a daughter, had a good life, but the pain of that time was always going to haunt him. So how do these people deal with that? Do they change? Do they not change? That was the interesting story to be told. It wasn’t so much about the antiwar movement itself, because that belongs to history.” “This is about a group of people that were underground,” Redford explains. “They were very close, bonded by the styles of their time, the passions of their time, and now they’ve grown older and they’ve taken different paths. Some resent that they did it. Others have remorse. Some believed in it at the time but feel they have to spend the rest of their lives paying for it. Others feel it was a just cause at the time and still is a cause for today. So there’s also all these multiple feelings and relationships —how they all interacted fascinated me.” While Redford planned both the scenario and the production itself down to the finest detail, he also left considerable elements of the story open to the actors’ own interpretations. Indeed, as an actor himself, he encouraged each individual’s input. “It was a skeletal script at the beginning that he was fleshing out through rehearsal,” explains Shia LaBeouf (Transformers; Wall Street: Money Never Sleeps) of the collaboration between the director and his cast. “I think it was like 80 pages when I first received it
LaBeouf points to a scene shared with Brendan Gleeson (The Guard) by way of example, one in which his journalist prods Gleeson’s retired police chief for information at an Ann Arbor, Michigan diner. “That scene didn’t even really exist initially,” explains LaBeouf. “Then you bring in somebody like Gleeson and you start riffing a bit…. Redford allows it to breathe, but it’s structured. It’s not just ad-libbed—it’s very structured as to what needs to be explained and why.”
For his ninth film as director, Robert Redford tapped some of the top talent working in film today. To a considerable extent, the appeal of The Company You Keep comes from watching its remarkable ensemble of veterans in action, performers including Julie Christie, Susan Sarandon, Stanley Tucci, Terrence Howard, Richard Jenkins, Chris Cooper and Nick Nolte—former Oscar® winners or nominees all. Redford also turned to some of the brightest young actors working today, including Shia LaBeouf in the leading role of Ben Shepard, and rising stars Brit Marling (Another Earth) and Oscar®-nominee Anna Kendrick (Up in the Air), in supporting roles. “In a selfish way I find working with these young artists inspiring,” says Redford. “They have new ideas and you learn from them. You’re never too old or too successful to not be learning something. It keeps you alive and it keeps you questioning.” For the central role of Jim Grant, however, Redford decided to play the part himself. “Because I’m nuts,” laughs the legendary star. “To step in and out of both roles is not easy for me,” he says of performing double duty as actor and director. “I can do it. But it’s definitely not easy.” Click here to watch the official movie trailer. summer 2013
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FIL M PREVIEWS
FILMPreviews
a quick look at upcoming alternative & independent films
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ARTHUR NEWMAN Director: Dante Ariola
A man who hates his job and is despised by his family sees one last shot at living a dream life, so he fakes his own death. He meets a young woman who is also trying to leave her past behind and the pair start breaking into empty homes to pose as the absent owners.
THE ATTACK
Director: Ziad Doueiri An Israeli-Palestinian surgeon, shocked to discover that his wife was involved in a suicide-bomb attack, ventures into Palestinian territory to confront the people who recruited her in this gripping adaptation of Yasmina Khadra's international bestseller.
BIG STAR: NOTHING CAN HURT ME Director: Drew DeNicola & Oliva Mori
This is the definitive documentary about the beloved and influential ’70s rock band Big Star. Founded in Memphis by Chris Bell and fronted by rock legend Alex Chilton, the original Big Star lineup also featured Jody Stephens and Andy Hummel. Together less than four years, the band flirted with mainstream success but never achieved it. Nonetheless, they produced a body of work of seminal importance to pop and alternative music, influencing major artists like REM, the Replacements, Elliot Smith, the Flaming Lips and countless others.
BLACK ROCK
Director: Katie Aselton Three young women—Sarah (Kate Bosworth), Abby (Katie Aselton) and Lou (Lake Bell)—get together for a private campout at one of the iconic settings of their childhood, an empty island off the coast of Maine, to renew their bond of sisterhood. They quickly learn, though, that the island is anything but empty when they encounter three recently-returned servicemen who have come to the island to hunt. A misunderstanding quickly turns to tragedy and the three women soon find themselves the targets of the hunt. What started as a simple getaway to recall old times is now a race for survival and three ordinary woman must find extraordinary strength in order to beat the odds against violence and the elements.
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FIL M PREVIEWS BLACKFISH
Director: Gabriela Cowperthwaite This film traces a 39-year history of killer whales in captivity leading up to a 2010 incident where an experienced Sea World trainer was killed by the 12,000 pound Orca whale Tilikum, a whale previously associated with the death of two other people. Blackfish chillingly shows that this incident of violence is hardly an isolated one, along the way exploring the extraordinary nature of Orcas, thought to be one of the most intelligent species in the animal kingdom. Ultimately, it is a story about the life and death consequences of a spectacle that has thrilled millions.
BLANCANIEVES Director: Pablo Berger
This re-telling of the classic Brothers Grimm fairy tale “Snow White,” is a breathtakingly beautiful film and a uniquely spirited homage to the black-and-white Golden Age of Europe’s silent cinema. Set in a romanticized 1920s Seville, Berger's “Snow White” is Carmen, the daughter of a famous bullfighter who lives under the tyrannical rule of her monstrous, evil stepmother Encarna. She escapes and joins a troupe of bullfighting dwarves where her beauty and natural talent in the ring attract notices from the press. But soon the news reaches Encarna who at last knows where to find Carmen, and she prepares for the final showdown.
THE BLING RING Director: Sofia Coppola
In the fame-obsessed world of Los Angeles, a group of teenagers take us on a thrilling and disturbing crime spree in the Hollywood hills. Based on true events, the group, who were fixated on the glamorous life, tracked their celebrity targets online and stole more than three million dollars in luxury goods from their homes. Their victims included Paris Hilton, Orlando Bloom, and Rachel Bilson, and the gang became known in the media as “The Bling Ring.” Oscar-winning filmmaker Sofia Coppola takes us inside the world of these teens where their youthful naiveté and excitement is amplified by today’s culture of celebrity and luxury-brand obsession.
BLUE JASMINE
Director: Woody Allen Woody Allen’s newest film stars Alec Baldwin, Cate Blanchett, Bobby Cannavale, Louis C.K., Andrew Dice Clay, Sally Hawkins, Peter Sarsgaard and Michael Stuhlbarg. The film was mostly shot in New York and San Francisco and the story focuses on of the final stages of an acute crisis and the lifestyle of a fashionable New York housewife.
DISCONNECT
Director: Henry-Alex Rubin A hard-working lawyer, attached to his cell phone, can't find the time to communicate with his family. A couple is drawn into a dangerous situation when their secrets are exposed online. A widowed ex-cop struggles to raise a mischievous son who cyberbullies a classmate. An ambitious journalist sees a career-making story in a teen who performs on an adult-only site. They are strangers, neighbors and colleagues and their stories collide in this riveting dramatic thriller about ordinary people struggling to connect in today’s wired world.
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FIL M PREVIEWS THE EAST
Director: Zal Batmanglij In The East, Sarah Moss is a brilliant operative for an elite private intelligence firm whose top objective is to ruthlessly protect the interests of their A-list corporate clientele. She is assigned to go undercover to infiltrate an anarchist collective known for executing covert attacks upon major corporations. Living among them in an effort to get closer to their members, Sarah finds herself unexpectedly torn between two worlds as she starts to fall in love with the group’s charismatic leader, finding her life and her priorities irrevocably changed.
THE ENGLISH TEACHER Director: Craig Zisk
Julianne Moore plays a beloved English teacher whose repressed personal life exists in stark contrast to the passion she brings to the classroom. Her routine is upended when a former star pupil returns to her small town after failing miserably as a playwright.
FILLY BROWN
Director: Youssef Delara, Michael D. Olmos Filly Brown is an inspiring and gritty portrait of a young artist striving to find her voice and seize her dreams without compromise. Majo Tonorio, aka, “Filly Brown” is a young, raw hip-hop artist from Los Angeles who spits rhymes from the heart. With a mother in prison and a father struggling to provide for his daughters, Majo knows that a record contract could be her family’s ticket out. But when a record producer offers her a shot at stardom, she is suddenly faced with the prospect of losing who she is as an artist as well as the friends who helped her reach the cusp of success.
FRANCES HA
Director: Noah Baumbach Frances lives in New York, but she doesn’t really have an apartment. Frances is an apprentice for a dance company, but she's not really a dancer. Frances throws herself headlong into her dreams, even as their possible reality dwindles. Frances wants so much more than she has but lives her life with unaccountable joy and lightness. Frances Ha is a modern fable in which Noah Baumbach explores New York, friendship, class, ambition, failure, and redemption.
GIRL MOST LIKELY
Directors: Robert Pulcini, Shari Springer Berman Imogene was once a promising young New York playwright, but she has fizzled, thanks to a crisis of confidence. Heavily in denial about being dumped by her society boyfriend, Imogene uses her skill for drama to stage an elaborate fake suicide as an appeal for his sympathy. But her attempt backfires when she's put into the custody of Zelda, her estranged gambling-addict mother, and must return home with her to the Jersey shore. Desperate to get back to her Manhattan circle of so-called friends, Imogene must finally deal with her family, including her unique brother, Zelda's new boyfriend “The Bousche,” plus a cute young lodger, who together help Imogene sort out her place in the world.
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FIL M PREVIEWS THE GREEN STORY Director: Nick Agiashvili
The real-life Van Vlahakis left Greece for America five decades ago with 22 dollars in his pocket. He not only managed to live the American dream for himself, but also created Earth Friendly Products, a U.S. giant for environmentally friendly cleaning products. The Green Story centers on the modern day Vlahakis (played by Ed O'Ross) who is diagnosed with cancer and given only a few months to live. During this time he reflects on his early life as an immigrant during the 1950’s and ultimately decides to push himself to the limit by closing one final business deal that will concretize his company's success, even if it means taking on a large corporation trying to take over his company.
A HIJACKING
Director: Tobias Lindholm This film focuses on the human consequences of modern piracy and takes its starting point when the cargo ship MV Rozen is captured by Somali pirates. Among the men on board are the ship’s cook Mikkel and the engineer Jan, who along with the rest of the seamen are taken hostage in a cynical game of life and death.
HOME RUN
Director: David Boyd Baseball all-star Cory Brand knows what it takes to win in the big leagues. But off the field, with memories of his past haunting him, his life is spiraling out of control. Hoping to save her client’s career and reputation after a DUI and a team suspension, Cory’s agent sends him back to the small town where he grew up. Forced to coach the local youth baseball team and spend eight weeks in the only recovery program in town, Cory can’t wait to return to his old life as quickly as possible. But his young players help him rediscover the joy of the game and win back the love he left behind. With this unexpected second chance, Cory finds himself on a powerful journey of transformation and redemption.
THE HUNT
Director: Thomas Vinterberg Mads Mikkelsen plays Lucas, a former school teacher forced to start over having overcome a tough divorce and the loss of his job. Just as things are starting to go his way, his life is shattered. An untruthful remark throws the small community into a collective state of hysteria. The lie is spreading and Lucas is forced to fight a lonely fight for his life and dignity.
THE ICEMAN
Director: Ariel Vromen Inspired by actual events, The Iceman follows notorious contract killer Richard Kuklinski (Academy Award®-nominee Michael Shannon) from his early days in the mob until his arrest for the murder of more than 100 men. Appearing to be living the American dream as a devoted husband and father, in reality Kuklinski was a ruthless killer-for-hire. When finally arrested in 1986, neither his wife nor daughters had any clue about his real profession.
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FIL M PREVIEWS IN THE HOUSE
Director: Francois Ozon A 16-year old boy Claude insinuates himself into the house of a fellow high-school student Rapha and writes about his family in essays that perversely blur the lines between reality and fiction for his jaded literature teacher Germain. Intrigued by this gifted and unusual student, Germain rediscovers his taste for teaching, but the boy’s intrusion sparks a series of uncontrollable events. Kristin Scott-Thomas plays Germain’s wife Jeanne, a contemporary art gallery director, who, alongside her husband, avidly follows Claude’s semi-imaginary escapades, while Emmanuelle Seigner plays Rapha’s mom, Claude's object of desire.
KEVIN HART: LET ME EXPLAIN Directors: Leslie Small, Tim Story
This film captures the laughter, energy and mayhem from Hart’s 2012 concert tour, which spanned 10 countries and 80 cities and generated over $32 million in ticket sales. Hart's “Let Me Explain” tour was one of the most successful comedy tours of all time, with more than 540,000 tickets sold. Both of his shows at New York’s Madison Square Garden and his performance at London’s O2 Arena sold out, as well as his appearances in Canada, Norway, Sweden, Denmark and Amsterdam.
KON-TIKI
Directors: Joachim Rønning, Espen Sandberg Norwegian explorer Thor Heyerdahl crossed the Pacific ocean in a balsa wood raft in 1947, together with five men, to prove that South Americans already back in pre-Columbian times could have crossed the sea and settled on Polynesian islands. After gathering financing for the trip with loans and donations, they set off on an epic 101-day-long journey across 8,000 kilometers, all while the world was watching. Kon-Tiki tells about the origin of Heyerdahl’s idea and the events surrounding the group’s voyage.
THE LORDS OF SALEM Director: Rob Zombie
From the singular mind of horror maestro Rob Zombie comes a chilling plunge into a nightmare world where evil runs in the blood. The Lords of Salem tells the tale of Heidi, a radio station DJ living in Salem, Massachusetts, who receives a strange wooden box containing a record, a “gift from the Lords.” Heidi listens, and the bizarre sounds within the grooves immediately trigger flashbacks of the town’s violent past. Is Heidi going mad, or are the “Lords of Salem” returning for revenge on modern-day Salem?
METALLICA THROUGH THE NEVER Director: Nimród Antal
This feature film stars members of the iconic rock band and Dane DeHaan. DeHaan plays a young band crew member who is sent out on an urgent mission while the band is playing a rousing live set in front of a sold-out crowd and unexpectedly finds his world turned completely upside down.
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FIL M PREVIEWS , MIDNIGHT S CHILDREN Director: Deepa Mehta
At the stroke of midnight on August 15, 1947, as India declares independence from Great Britain, two babies are switched at birth by a nurse in a Bombay hospital. And so it is that Saleem Sinai, the bastard child of a beggar woman, and Shiva, the only son of a wealthy couple, are fated to live the destinies meant for the other. Over the next three decades, Saleem and Shiva find themselves on opposite sides of many a conflict, whether because of class, politics, romantic rivalry, or the constantly shifting borders that are drawn every time neighbors become enemies and decide to split their newborn nation into two and then three warring countries. Through it all, the lives of Saleem and Shiva are mysteriously intertwined. They are also inextricably linked to the history of India itself, which takes them on a whirlwind journey full of trials, triumphs and disasters.
MUD
Director: Jeff Nichols Two boys, Ellis and his friend Neckbone, find a man named Mud hiding out on an island in the Mississippi. Mud describes fantastic scenarios—he killed a man in Texas and vengeful bounty hunters are coming to get him. He says he is planning to meet and escape with the love of his life Juniper who is waiting for him in town. Skeptical but intrigued, Ellis and Neckbone agree to help him. It isn’t long until Mud’s visions come true and their small town is besieged by a beautiful girl with a line of bounty
MY BROTHER THE DEVIL Director: Sally El Hosaini
James Floyd stars as Rashid, a young man from a traditional Arab family who runs with a gang that rules the streets of Hackney, one of London's most ethnically-mixed and historically volatile neighborhoods. Rashid’s younger brother Mo idolizes his handsome, charismatic older brother and dreams of following in his footsteps, but Rashid envisions a different life for Mo and insists that he stay away from gang life and stick to his studies. When Rashid forms a bond with Sayyid, an older man of similar background who is now a successful photographer, he is introduced to a world he never knew existed. But just as he decides he wants out of his dead-end life on the streets, Mo decides he wants in and starts doing drug runs behind Rashid's back. Headed on a collision course of conflicting desires, each young man is forced to face himself and confront the brother he thought he knew.
NO PLACE ON EARTH Director: Janet Tobias
In October 1942, Esther Stermer, the matriarch of a Jewish family in the Ukraine, leads her family underground to hide from the pursuing Nazis—and stays nearly a year-and-a-half. Their harrowing story of survival living in near total darkness in two cold, damp caves is one like no other ever told. It was life, but definitely like “no place on Earth.”
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FIL M PREVIEWS PASSION
Director: Brian De Palma The office of a prominent multinational corporation is the setting for this story of a power struggle between two contemporary women. Isabelle has unlimited admiration for her direct superior Christine, a woman well-schooled in the ways of power. Christine enjoys holding sway over Isabelle, leads her one step at a time and ever more deeply into a game of seduction and manipulation, of dominance and servitude. The game is played for keeps, and there is no turning back.
THE PLACE BEYOND THE PINES Director: Derek Cianfrance
Luke is a motorcycle stunt performer who travels with the carnival from town to town. While passing through upstate New York, he tries to reconnect with a former lover, Romina, only to learn that she has given birth to their son in his absence. Luke decides to give up life on the road to try and provide for his newfound family. Noticing Luke’s ambition and talents, his employer Robin proposes to partner with Luke in a string of spectacular bank robberies, confrontation with Luke will reverberate into the next generation. It is then that the two sons, Jason and AJ, must face their fateful, shared legacy.
POPULAIRE
Director: Régis Roinsard In the spring of 1958, 21-year-old Rose Pamphyle lives a drudgery-filled life with her grouchy widower father who runs the village store. But when she travels to Lisieux in Normandy, she meets charismatic insurance agency boss Louis Echard. Louis develops a fierce competitive side when Rose reveals she can type at extraordinary speed. He convinces her to enter speed-typing competition and declares himself her trainer. Louis promises to turn her into the fastest girl, not only in the country but in the world! But will love of sport mix well with love itself?
RENOIR
Director: Gilles Bourdos Set on the French Riviera in 1915, Renoir follows Impressionist master PierreAuguste Renoir, tormented by the loss of his wife, the pains of arthritis, and the news that his son Jean has been wounded in action. When the incandescent Andrée, aka Dédé, miraculously enters his world, the artist is filled with an unexpected energy. Blazing with life, radiantly beautiful Dédé will become Renoir’s last model, inspiring some of his most renowned works including Les Baigneuses (The Bathers).
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FIL M PREVIEWS THE SAPPHIRES Director: Wayne Blair
Inspired by a true story, The Sapphires follows four vivacious, young and talented Australian Aboriginal girls from a remote mission as they learn about love, friendship and war when their all-girl group The Sapphires entertains the U.S. troops in Vietnam in 1968. Cynthia, Gail, Julie and Kay are discovered by Dave, a good-humored talent scout with a kind heart, very little rhythm but a great knowledge of soul music. As their manager, Dave books the sisters their first true gig, giving them their first taste of stardom, and travels them to Vietnam to sing for the American troops.
SCATTER MY ASHES AT BERGDORF,S Director: Matthew Miele
, Celebrating the iconic store’s 111th anniversary, Scatter My Ashes at Bergdorf s shares the compelling story of the legendary Fifth Avenue landmark which has launched the careers of many world-renowned designers and continues to be the aspiration of every designer around the globe. The story is told by fashion icons such as Karl Lagerfeld, Vera Wang, Marc Jacobs, Georgina Chapman, Christian Louboutin and Michael Kors, among others, as well as celebrity and socialite clientele, longstanding employees, and members of the Goodman family.
STARBUCK
Director: Ken Scott Patrick Huard stars as David Wozniak, a 42-year-old lovable but perpetual screwup who finally decides to take control of his life. A habitual sperm donor in his youth, he discovers that he's the biological father of 533 children, 142 of whom are trying to force the fertility clinic to reveal the true identity of the prolific donor codename “Starbuck.”
STORIES WE TELL Director: Sarah Polley
In this inspired new film, Oscar®-nominated writer/director Sarah Polley discovers that the truth depends on who’s telling it. Polley is both filmmaker and detective as she investigates the secrets kept by a family of storytellers. Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.
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FIL M PREVIEWS STUCK IN LOVE
Director: Joshua Boone An acclaimed writer, his ex-wife and their teen-aged children come to terms with the complexities of love in all its forms over the course of one tumultuous year in Stuck in Love, the clever, funny and touching tale of a fractured family trying to rediscover one another.
UNFINISHED SONG
Director: Paul Andrew Williams This is a wonderfull heart-warming story of a loving marriage between grumpy pensioner Arthur and the ever-cheerful Marion. Cantankerous but doting husband Arthur does not share his wife Marion’s passion for performing. While she is happy to sing her heart out with the unconventional local choir, Arthur would prefer to hide himself away and complain about how embarrassing it all is. But when heartbreak strikes, Arthur is forced to re-think his outlook on life. With the steady perseverance of choir director Elizabeth, Arthur begins to find a way to come out of his shell, in the process forms a touching relationship with Elizabeth.
THE WAY, WAY BACK Director: Nat Faxon, Jim Rash
This is a funny and poignant coming-of-age story about 14-year-old Duncan’s summer vacation with his mother, her overbearing boyfriend, and his daughter Steph. Having a rough time fitting in, the introverted Duncan finds an unexpected friend in gregarious Owen, manager of the Water Wizz water park. Through his funny, clandestine friendship with Owen, Duncan slowly opens up to and begins to finally find his place in the world—all during a summer he will never forget.
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Gainesville Cinema Stadium 14, Gainesville Beach Boulevard Stadium 18, Jacksonville
pennsylvania
South Beach Stadium 18, Miami Beach
Plymouth Meeting 10, Conshochocken
Hollywood Stadium 20, Naples
Edgemont Square 10, Newtown Square
Hollywood Stadium 16, Ocala
south carolina
Hollywood Stadium 20, Sarasota Winter Park Village Stadium 20, Winter Park
Cherrydale Stadium 16, Greenville
georgia
tennessee
Tara Cinemas 4, Atlanta
Downtown West Cinema 8, Knoxville
hawaii
Green Hills Stadium 16, Nashville
Dole Cannery Stadium 18, Honolulu
texas
illinois
Arbor Cinema @ Great Hills, Austin
Lincolnshire Stadium 20 & IMAX, Lincolnshire Cantera Stadium 17, Warrenville
Greenway Grand Palace Stadium 24, Houston Houston Marq*e Stadium 23, Houston
maryland
virginia
Snowden Square Stadium 14, Columbia
Ballston Common Stadium 12, Arlington
nevada
Downtown Mall 6, Charlottesville
Green Valley Ranch Stadium 10, Henderson Village Square Stadium 18, Las Vegas Colonnade Stadium 14, Las Vegas
new mexico
Fairfax Towne Center 10, Fairfax Westhampton Cinema 2, Richmond Columbus Stadium 12, Virginia Beach
washington
High Ridge Theatre 8, Albuquerque
Sehome 3 Cinemas, Bellingham
Devargas Mall Cinema 6, Santa Fe
Bella Bottega Stadium 11, Redmond
new york East Hampton Cinema 6, East Hampton Farmingdale Stadium 10, Farmingdale
printed on recycled paper
Meridian 16, Seattle City Center Stadium 12, Vancouver