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CONTENTS Page 3 4-7

Editorial Vice The story of Dick Cheney, an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.


Green Book A working-class Italian-American bouncer becomes the driver of an African-American classical pianist on a tour of venues through the 1960s American South.


Bergman: A Year in the Life Journeying through 1957, the year Bergman released two of his most acclaimed features (The Seventh Seal and Wild Strawberries).


Stan And Ollie Laurel and Hardy, the world's most famous comedy duo, attempt to reignite their film careers as they embark on what becomes their swan song - a grueling theatre tour of post-war Britain.


Monsters And Men The aftermath of a police killing of a black man, told through the eyes of the bystander who filmed the act, an African-American police officer and a high-school baseball phenom inspired to take a stand.


FilmFest Follower: Berlin A look at some of the films at the Berlin Film Festival


Extras: DVDS of the Month CRAZY RICH ASIANS


Extras: DVDS of the Month 24 Frames


Poster: Vice


ACKNOWLEDGEMENTS: We would like to acknowledgement the

following publicists for their help in providing assistance in publicity material for this magazine: Megan Taylor: Entertainment One Jull Reading: BFI Chris Lawrence: Chris Lawrence.com



EDITORIAL Hello February! What a month you are going to be! Roll out the red carpet for the BAFTA Awards Ceremony on the 10th at the Royal Albert Hall and the Academy Awards Ceremony on the 17th at the Dolby Theatre, Hollywood, Los Angeles. We celebrate the films that were screened at the Sundance Film Festival when it closes for another year on 3rd, while welcoming the Berlin International Film Festival on the 7th. On the 26th at the Institut de Francais, South Kensington, London, its Buon Giorno on 24th for four days to Cinema Made in Italy. On 2nd February we take a sneak preview of a film premiering at the International Film Festival Rotterdam which looks like a winner all the way and accept the film title’s invitation: Take Me Somewhere Nice. Reviews in this issue: Vice, Green Book, Bergman: A Year in a Life, Stan and Ollie, Monsters And Men. FilmFest Follower: Berlin. Extras: DVDs of the Month.

MbM’s CINEMA HEART AWARDS Favourites of the Year: ROMA - Best Film CHRISTIAN BALE - Best Actor LADY GAGA - Best Actress MAHARASHLA ALI - Best Supporting Actor AMY ADAMS - Best Supporting Actress ALFONSO CUARON - Best Director ALFONSO CUARON - Best Cinematography A STAR IS BORN – Best Adapted Screenplay GREEN BOOK – Best Original Screenplay ROMA – Best Foreign Language Film FREE SOLO – Best Documentary MARY POPPINS RETURNS – Best Costume Design GREEN BOOK – Best Editing VICE – Best Make up & Hairstyling MARY POPPINS RETURNS – Best Original Score A STAR IS BORN – Best Original Song: Shallow.

Enjoy the read. Brian Mills

Magazine Editor

Paul Ridler

Magazine Designer



VICE Directed by Adam McKay Starring: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell What do you say? I want you to be my VP. I want you, you’re my Vice. - George Bush Well George, I er…I’m a CEO; a large company. I’ve been Secretary of Defence, and I’ve been White House, Chief of Staff. Vice President, I see as a mostly symbolic job. However, if we come to a different…understanding. I can handle the more mundane jobs: overseeing, bureaucracy, military, energy, and er foreign policy. - Dick Cheney Christian Bale once again transforms himself in character both physically and mentally as the Vice President to George W Bush in this powerful political comedy. Bale piled on 45 pounds by eating lots of pies for his part, the opposite to losing 110 pounds in weight to play the skeletal figure of “The Machinist”. Perfectionist that he is, he also shaved his head, bleached his eyebrows and exercised to thicken his neck. Amy Adams as Cheney’s ruthlessly ambitious wife, stayed in character during filming, especially keeping her character’s distinctive voice. She would even have political discussions with the director while maintaining the voice.

Vice is a tremendous movie and a captivating insight to a man who wielded immense power behind the scenes as Vice President. Personified by Bale, often seen in shadowy ominous or punctuating sentences with silence, it is a role that has gained him an Oscar nomination for Best Actor. Amy Adams has also been nominated for Best Supporting Actress. Sam Rockwell plays George W Bush and milks it, for all its got with observational quips. Steve Carell ss Donald Rumsfeld, U.S. Secretary of Defence who is used ruthlessly by Cheney. The problem the film may have is politics overload but at the same time might be alleviated by the antics of the current President of the USA.



Christian Bale, Amy Adams, Adam McKay discuss the film: Unfortunately, I was unable to meet him, just hours spent pouring over videos, imitating him, reading transcripts, reading books, obsessional to him to a stupid degree. - Christian Bale I really did as much research as I could. I read her books, not all of them, she wrote over 29 books. There was a lot to learn about her. - Amy Adams Even when we were making the movie, till the script was written, I was constantly chipping away to understand this guy. He was such an enigma. Everything he did was related to ‘Don’t tell my story’ And his autobiography is just a court disposition; it is so cold. He didn’t want a movie made about him and we laughed about that the whole time; We’re making a movie about you. - Adam McKay She is essential. There is no Dick Cheney without Lynne. She certainly gave him the ambition, the drive to where he got to. - Christian Bale I think I had to take away peoples’ perception of her. She wrote a memoir of her childhood. So, that was very helpful to see her point of view; where she came from, what were her challenges, where is personal history. Even as a young girl, she was focused intensely. So this sort of unapologetic ambition, whether it was towards twirling; it was being the best girl. She was a very focused hard worker. - Amy Adams What I really found was that he was an average guy from Wyoming. What we saw was Lynne Cheney, was the ambition, she was the spark that got everything going, but what we also saw was that Dick Cheney had certain skills that no one else had. He had a certain patience. Lynne Cheney said, “If you want to understand my husband, you have to know one thing; he a fly fisherman”. And that quote holds pretty well from what we discovered. - Adam McKay On one of many outlandish decisions that Cheney makes, he is curtly admonished by being told: This isn’t something a Vice President does. Cheney pauses before he answers his critic, and replies: It is now.



Lynne (Amy Adams), Dick Cheney (Christian Bale) in Vice .

Lynne (Amy Adams) in Vice. 6


Lynne (Amy Adams), Dick Cheney (Christian Bale) in Vice.

Dick Cheney (Christian Bale), Lynne (Amy Adams) in Vice.




Directed by Peter Farrelly Starring: Viggo Mortenson, Mahershala Ali, Linda Cardellini You never win with violence. You only win when you maintain your dignity. -Dr. Don Shirley

When a film keeps playing in your head and positively makes a reservation in your heart, you know you have experienced a movie milestone. The story behind making this film is almost an interesting as the film itself, as the film nearly never happened at all; the writer Brian Currie was meant to be on flight 11, 911 and he showed up at the airport in Boston and was late and they didn’t let him on that plane and the fact that they ended up screening at 9.11 is one of those wonderfully serendipitous things that happened. Peter Farrelly generally by lost his son a couple needed to step aside and bumped into Brian Currie

directs films with his brother Bobby, but Bobof years before due to a drug overdose and he so it was then that Peter coincidentally and it all happened.

For Viggo Mortenson, the script was a pleasure to read and he read it several times. He was struck by how well it was constructed. The dynamic of the relationship turned a lot of things on its head in subtle ways. It is movie about different kinds of people getting along. It didn’t set out to get to know each other, but they do by virtue of spending time together. After this film, Farrelly should get carte blanche to direct anything he wants as his directing is faultless. He deserves to be mentioned in the same breath as Frank Capra and Preston Sturges. At the end of screening, one was left awestruck. No one wanted to leave their seats. Mahershala Ai admitted that he has never enjoyed reading scripts as they are generally difficult to read because there is so much description in there. So, the rhythm and the flow were constantly being broken. I always know if I’m not responding to a script is when I might start reading some of the dialogue and trying to see if I can wake it up in some way. I can hear these characters really talking to each other. 8


I laughed out loud at the chicken scene, I kid you not. I was, should I be offended, I don’t know. But I laughed hard, and I don’t do that in reading scripts. So, all the characters were so alive. At that point when I got the script, it was at least six months before we started shooting. We could have shot it a couple of weeks after I read it. It didn’t want work. It was just about us making it our own from the standpoint of making it our own of having another pair of eyes with an intimate look at it, knowing that we were the ones that were going to have to metabolise it and take it from the page to the screen. So, we came at it with our notes, but the dynamic was there, it jumped off the page. I didn’t know it was as funny as it was. I absolutely enjoyed it and loved it. Linda Cardellini thought on all accounts that Nick’s mum was a wonderful person and talked to a lot of the family. They were gracious enough and no one had a bad word to say about her. She was really just the heart of the family. I think that idea could come across in the film in honour to her. The two of them were always in love and that was beautiful, and to have her letters between the two of them and to be able to read those and step back into time into this real relationship was really a gift. I think she is really a centre for him. She is really happy to see the turnaround for him at the end of the film and she really appreciates Don as soon as he calls her. I think she knows that something has…it is journey to be had and she doesn’t want to let him go. I think it comes full circle for her and the family. And what did Nick Vallelonga do with all these stories he heard when growing up? I had my father tell me all the stories and Doctor Shirley told me to put everything in there but wait until he passed away. So I waited a long time. I was going to make it myself with an Iphone because Brian and I were talking about doing something together. I said I had this thing about my father and I told him and he said we’ve got to do this. He told Pete about it and when I met Peter, immediately knew I had to let go and give it to him, and here we are. Green Book is unlike any other film you will have seen. It tells of a working -class Italian-American bouncer who becomes the driver to an African-American classical pianist on a tour of venues through the 1960s American South. The title refers to the “Negro Motorist Green Book” A guide helped African American travellers find lodging, restaurants and other businesses that would serve them. In the Vallelonga family scenes Tony and Dolores’ real family members play most of the relatives.

UK Release 1st February www.moviesbymills.com


Don Shirley (Mahershala Ali) in Green Book.

Nick (Viggo Mortenson), Don Shirley (Mahershala Ali) in Green Book. 10


Don Shirley (Mahershala Ali), Nick (Viggo Mortenson) in Green Book.

Don Shirley (Mahershala Ali), Nick (Viggo Mortenson) in Green Book.



BERGMAN A Year in a Life Directed by Jane Magnusson With Ingmar Bergman, Liv Ullmann, Gunnel Lindblom, Elliott Gould. ”If somebody suddenly feels happy and walks along recalling certain scenes on the way home from the cinema, or if somebody suddenly cries or is shaken or laughs or feels better or worse – if someone is affected in any way whatsoever then surely the film has fulfilled its function.” - Ingmar Bergman, 1973 This is an extraordinary documentary about an extraordinary man who exceeded others’ expectations of him but never his own. He was a workaholic both in his creative career and in his personal life. Bergman’s filmography is laden with rich findings, but none more so than 1957, the year that Jane Magnusson has concentrated her study on him. It is the most revealing documentary that has been made on a film director of Bergman’s calibre. It shows Bergman as a neurotic, tormented soul, five times married, fathered nine children with six women, but was a terrible father who openly confessed that he didn’t know their birthdays. As well as his reputation of being a tyrannical bully, he was a Nazi sympathiser, a compulsive liar, so one never knew whether what he was telling you was truthful or just a wild imagining. The only place he found solace was in his fanatical desire to work beyond limits: acting and directing in theatre and making films. In 1939 he worked as a production assistant at Stockholm’s Royal Dramatic Theatre. In ’43 he was given the opportunity at the Svensk Filmindustri to write a film script, which became his first film, Torment (Hets), directed by Alf Sjoberg. The film also marked Bergman’s debut as a film director because he was asked by Sjoberg to shoot the last exterior scenes which show Alf Kjellin walking towards the awakening city. Torment won the Grand Jury Prize at Cannes. The film’s success gave Bergman the opportunity to write and direct. Though Summer with Monika caused quite a stir in 1953 which focused on the sexual life of a young woman, it was really 1957 that became Bergman’s vintage year which produced two masterpieces: The Seventh Seal and Wild Strawberries; both films centred on Bergman’s greatest fear: death. Jane Magnusson’s documentary expertly examines these films and what influences lie behind them. The Seventh Seal embeds images in your mind that will always reside in your memory. Like most of Bergman’s works, it is a variation of his central theme of dysfunctional families, failed artists an absent God. 12


His major influences were Shakespeare, Moliere, Ibsen and Strindberg. He was the first to reflect man’s inner life, thoughts, doubts, uncertainties and anxieties on film. After 1957, Bergman made 24 feature films, 59 theatre productions and 19 films for television. He wrote scripts, made short films and established himself as a recognised author with books i.e. My Life in Film and The Magic Lantern. Whatever he did, he stimulated the public’s interest. THE SEVENTH SEAL Starring: Max von Sydow, Gunner Bjornstrand, Nils Poppe, Bibi Andersson, Bengt Ekerot. Gunnel Linblom Among the many memorable sequences in the film is when the knight (Max von Sydow) who among many other characters, not least his squire (Gunnar Bjornstrand), a down-to-earth man who has a dislike for women, and a sardonic relationship with his master. The knight and his squire travel home to the knight’s castle, the knight is challenged by Death (Bengt Eklund). “I have been at your side for a long time”) The knight offers death a bargain. They will play chess for his soul. The game continues through the entire film. WILD STRAWBERRIES Starring: Victor Seastrom, Bibi Andersson, Ingrid Thulin, Gunnar Bjornstrand, Jullan Kindahl A retired and widowed 78-year-old Professor Isak Borg (Victor Seastrom) has a disturbing nightmare about a runaway funeral carriage, a clock without hands, a man without a face and his impending death the night before he’s to fly to Lund University from his country retreat where he has withdrawn from life to write his memoirs. He is to receive an honorary degree for 50 years of distinguished medical practice. He changes his plans to fly there and instead go by car. Along the way the professor stops off at his childhood home in the country and standing in a wild strawberry patch recalls some powerful childhood memories. He’s approached by a teenage girl named Sara (Bibi Andersson), whose dad now owns the house. The girl reminds him of his first love. Victor Seastrom was a film director himself of early silent films and had directed Lillian Gish in The Wind and in The Scarlet Letter, and Greta Garbo in The Divine Woman. *Jane Magnusson has made a fine tribute to Ingmar Bergman in this intriguing and entertaining documentary on one of cinema’s greatest filmmakers. *Jane Magnusson has also directed the documentary Trespassing Bergman in 2013. Among the many interviewees in the film are: Barbra Streisand, Elliott Gould, Holly Hunter, Jan Troell, John Landis, Lena Olin, Liv Ullmann, Pernilla August, Roy Andersson and Z hang Yimou.



Ingmar Bergman.

Bengt Ekerot and Ingmar Bergman on the set of The Seventh Seal. 14


Ingmar Bergman, Bibi Andersson, Victor Sjostrom on the set of Wild Strawberries.

Death (Bengt Ekland) and Antonios Block (Max Von Sydow) in The Seventh Seal. Picture courtesy of BFI.




Directed by Jon S Baird Starring: John C Reilly, Steve Coogan, Shirley Henderson I’ll miss us when we’re gone. So will you.

- Ollie - Stan

The comedic brilliance of Stan Laurel and Oliver Hardy is brought to the screen in this wonderful homage to Britain’s unforgettable double-act. Stan Laurel was a music-hall comedian and made his stage debut in Glasgow at the age of 16. He travelled with Fred Karno’s Vaudeville Company to the USA in 1911 and again in 1913. He performed impersonations of Charlie Chaplin and made shorts for Metro, Hal Roach Studios, then Universal, then back to Roach in 1926. Stan’s first film with Oliver Hardy was a two-reeler called 45 Minutes From Hollywood. Laurel was the inspiration behind most of their comedy routines, his standard trademarks was scratching his head, a blank stare, ear-wiggling and collapsing into tears. He was managed by Hal Roach and was given a special Academy Award in 1960. Oliver Hardy entered show business at the age eight when he ran away to join a minstrel show as a singer. He teamed up with Stan Laurel in 1927. Laurel & Hardy became the forerunners of comedy double-acts, leading the way to Abbott & Costello who were vaudeville comedians who were extremely popular during the forties and early fifties through their films with titular excursions to Mars, or meeting Frankenstein, Ghosts, Boris Karloff, Invisible Man, Captain Kidd, Dr. Jekyll and Mr Hyde, Keystone Cops, the Mummy.

During the late-forties Martin and Lewis appeared on the big screen, making a series of comedies starting with My Friend Irma in 1949 through to 1956 Hollywood or Bust, when the pair split-up, Dean Martin played his first dramatic role in The Young Lions, while Jerry Lewis continued as a comedian in The Delicate Delinquent. What was the take of John C. Reilly and Steve Coogan on playing Stan Laurel and Oliver Hardy?


I was surprised that in their heyday and making all the films in the 1930’s to the 40’s, that they were not spending a lot of time together socially and were very different people. Stan worked very hard, always writing and editing and Oliver was off enjoying the fruits of Hollywood. It was in 1953 when they became close as friends. - John C. Reilly Knowing that Stan was innocent in the relationship on screen. He was in some ways a serious guy. Behind the


scenes, almost a workaholic, consumed by his work, and that was news to me. - Steve Coogan In 1937 when we first meet the duo, they were at the top of their popularity but suffered financially because they didn’t own their own pictures and while making Way Out West, Stan confronted the somewhat villainous co-producer Hal Roach, played by Danny Huston, telling him: You can’t have Hardy without Laurel. But Roach didn’t budge, and Stan moved to Fox, believing that Ollie would immediately follow. Laurel & Hardy’s first full feature together in starring roles was Pardon Us in 1931. When this wonderfully warm-hearted film fast forwards to 1953, we see the pair in Newcastle performing to sparsely filled variety theatres. Stan is thinner and greyer, and Ollie is fatter. At one time, he ballooned to 25 stone. They are apparently lacking in finances and struggling comedians and not just from the double acts but from a Norman Wisdom. But despite the half-empty houses, they of light with a skilfully executed double-door routine impresario Bernard Delfont (Rufus Jones).

with competitive comedian named find a glimmer which wins over

What really boosts their luck is the arrival of Stan and Ollie’s wives: Ida, an hilarious portrayal by Nina Arianda, who is protective of her Stanley reminding people that she too was an actor. While Lucille (Shirley Henderson) Ollie’s wife, remains territorial. The film’s narrative offers joy and sadness. Amongst the many charming scenes is a recreation of the very funny scene from the 1932 short County Hospital, added to this is the reality of Stan tripping over his cases while checking into a guesthouse or they drop a trunk down a flight of stairs with Ollie watching it go. Do we really need that one? And though they loved and respected each other there were the unavoidable verbal clashes, rehashing doubts and painful memories, particularly when Stan made In Zenobia in 1939 without Ollie. I loved us

- Stan But you never loved me. - Ollie But one thing I can confidently predict is that you will love this film.



Idal (Nina Arianda) and Stanley (Steve Coogan) in Stan and Ollie.

Lucille (Shirley Henderson) and Idal (Nina Arianda) in Stan and Ollie. 18


Stanley (Steve Coogan) in Stan and Ollie.

Ollie (John C Reilly) in Stan and Ollie.



MONSTERS AND MEN Directed by Reinaldo Marcus Starring: John David Washington, Anthony Ramos, Kelvin Harrison Jr. So, what do the police want with you? - Sarah They want me to keep quiet. - Manny So, you’re gonna go blabbing about it. They’re gonna make an example of you. - Sarah

The aftermath of a police killing of a black man, told through the eyes of a bystander who filmed the act. An African-American police officer and a high school baseball phenom inspired to take a stand. An extremely powerful film that emotionally transplants you into the characters and the dramatic action. Reinaldo Marcus, director of this film, was trying to discover what kind of filmmaker he was. He had made a couple of Short films and he thought that out of those films a style was formed. He had done a couple of Short Documentaries and he liked that link between documentary and fiction, what is real and what is fiction. Marcus wanted to keep that same approach in making Monsters And Men. I wanted things to just breathe and unfold. It’s just I’ve learned over the last couple of years in a film school and my personal taste evolving organically. I think there is that sort of Doc feel to about fiction is that you can change your is so true, it is what it is, and here we bit. We can change the narrative. We have 20

the film. The good thing fate. Sometimes a documentary can play with it a little the ability to do that. So, I


just wanted to keep that truth. Some of the quietest scenes are the loudest, and there is something very powerful about silence. When you watch the film and you have those moments. I think it is some of the most powerful stuff you can watch. The story is inspired by an incident in New York in 2014 when a black man resisted arrest for selling single cigarettes for loose change on a street corner and dies as a result of a police officer’s chokehold as an onlooker filmed the event on his phone. The narrative is directed at three young African-American men, affected in various ways by the incident and are caught up in a crisis of loyalty to their community and opposing loyalty to their own precarious futures, which are wished for them by their worried parents. John David Washington plays New York Detective Dennis Williams who is up for promotion. Anthony Ramos is Manny, a nice guy from the neighbourhood with a partner and a baby and is on the verge of turning his life around by getting a job as a security guard. Kelvin Harrison Jr is Zee. The director Reinaldo Marcus is not interested in demonising individuals but rather in considering the pressure points that can motivate violence and the code of silence it is easier for everyone to adopt rather than speaking out. Each of the men in question have warm family ties. Shooting by cinematographer Patrick Scola helps us feel at ease with them, each finding their duty to family clashing with what might be better for the community. John David Washington gives a stand-out performance as New York Detective Dennis Williams. The scene that underlines the core of the narrative is when he is being pulled over in his car by white officers when he’s off duty as the loud music he has been cheerfully listening to has to be switched off as he waits for the approaching officers. He shows them his badge and frustratingly waits while they check to see if it has been stolen. Yet, despite his fury at the racism inside his profession, Dennis is filled with emotion when two of his fellow officers are killed on the job, and he is moved by the impromptu prayers in the station house followed by the big public funeral. Later when Dennis hosts a dinner party and one of his guests says that they have a new cat which they have called Simba, after The Lion King. Dennis raises his glass and proposes a toast: “All that light touches!” And this film’s light will touch a lot. On UK Release now.



Manny (Antonio Ramos) in Monsters And Men.

Dennis Williams (John David Washington)in centre of picture in Monsters And Men. 22


Dennis Williams (John David Washington) in Monsters And Men.

Dennis Williams (John David Washington) and Stacey (Cara Buono) in Monsters And Men.




OPENING FILM THE KINDNESS OF STRANGERS (Germany) Directed by Lone Scherfig Starring: Zoe Kazan, Andrea Riseborough

COMPETITION SO LONG, MY SON (People’s of Directed by Wang Starring: Wang Jingchun, Qi Xi, Wang

China) Xiaoshuai Yong Mei, Qi Mei, Yuan

ELISA & MARCELA (Spain) Directed by Isabel Coixet Starring: Natalia de Molina, Greta Fernandez, Sara Casasnovas

GOD EXISTS, HER NAME IS PETRUNIJA (Macedonia, Belgium, Slovenia, Croatia, France) Directed by Teona Strugar Starring: Zorica Nusheva, Labina Mitevska, Simeon Moni Damevski

MARIGHELLA (Brazil) Directed by Wagner Moura Starring: Seu Jorge, Adriana Esteves, Bruno Gagliasso, Jorge Paz



MR. JONES (Poland, United Kingdom, Ukraine) Directed by Agnieszka Holland Starring: James Norton, Vanessa Kirby, Peter Sarsgaard

ONDOG (Mongolia) Directed by Wang Quan’an Starring: Dulamjav Enkhtaivan, Aorigeletu, Norovsambuu Batmunkh

THE OPERATIVE (Germany, Israel, France, USA) Starring: Diane Kruger, Martin Freeman, Cas Anvar

LA PARANZA DEI BAMBINI (Italy) Directed by Claudio Giovannesi Starring: Francesco Di Napoli, Ar Tem, Viviana Aprea, Pasquale Marotta

SYSTEMSPRENGER (Germany) Directed by Nora Fingscheidt Starring: Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide

OUT STEALING HORSES (Norway, Sweden, Denmark)


– Documentary) Directed by Agnes Varda

VICE Directed by Adam McKay Starring: Christian Bale, Amy Adams, Sam Rockwell



PANORAMA 37 SECONDS (Japan) Directed by HIKARI Starring: Mel Kayama, Misuzu Kanno, Makiko Watanabe, Shunsuke Daito

DEFINE (Italy) Directed by Federico Bondi Starring: Carolina Raspanti, Antonio Piovanelli, Stefani Casini

THE DAY AFTER I’VE GONE (Israel) Directed by Nimrod Eldar Starring: Menashe Noy, Zohar Meidan

A DOG CALLED MONEY (Ireland, United Kingdom Documentary Directed by Seamus Murphy Featuring: P J Harvey

WAITING FOR THE CARNIVAL (Brazil) Documentary Directed by Marcelo Gomes

CHAINED (Israel, Germany) Directed by Yaron Shani Starring: Eran Naim, Stav Almagor, Stav Patai

FLATLAND (South Africa, Germany, Luxembourg) Directed by Jenna Bass Starring: Faith Baloyi, Nicole Fortuin, Izel Bezuidenhout



GRETA (Brazil) Directed by Armando Praca Starring: Marco Nanini, Denise Weinberg, Demick Lopes, Gretta Star

HELLHOLE (Belgium, Netherlands) Directed by Bad Devos Starring: Willy Thomas, Alba Rohrwacher, Lubna Azabal, Hamza Belarbi

JESSICA FOREVER (France) Directed by Caroline Poggi Starring: Aomi Muyock, Sebastian Urzendowsky, Augustin Raguenet

ACID (Russian Federation) Directed by Alexander Gorchilin Starring: Filipp Avdeev, Alexander Kuznetsov, Arina Shevtsova

MID90S (USA) Directed by Jonah Hill Starring: Sunny Suljic, Lucas Hedges, Katherine Waterston

FAMILY MEMBERS (Argentina) Directed by Mateo Bendesky Starring: Tomas Wicz, Laila Maltz

MONOS (Colombia, Argentina, Netherlands, Germany, Denmark, Sweden, Uruguay, USA) Directed by Alejandro Landes Starring: Julianne Nicholson, Moises Arias, Sofia Buenaventura

O BEAUTIFUL NIGHT (Germany) Directed by Xaver Bohm Starring: Noah Saavedra, Marko Mandic, Vanessa Loibl www.moviesbymills.com


SELFIE (France, Italy) Documentary Directed by Agostino Ferrente

SHOOTING THE MAFIA (Ireland, USA) Documentary Directed by Kim Longinotto

SKIN (USA) Directed by Guy Nattiv Starring: Jamie Bell, Danielle Macdonald, Vera Farmiga

THE SOUVENIR (United Kingdom) Directed by Joanna Hogg Starring: Honor Swinton Byrne, Tom Burke, Tilda Swinton

TREMORS (Guatemala,

France, Luxembourg) Directed by Jayro Bustamante Starring: Juan Pablo Olyslager, Mauricio Armas Zebadua, Diane Bathen

THE MIRACLE OF THE SARGASSO SEA (Greece, Germany, Netherlands, Sweden) Directed by Syllas Tzoumerkas Starring: Angelika Papoulia, Youla Boudali, Christos Passalis

WHAT SHE SAID: THE ART OF PAULINE KAEL (USA) Documentary. Directed by Rob Carver Featuring: Sarah Jessica Parker, Quentin Tarentino, Alec Baldwin, David O Russell, Paul Schrader, Woody Allen, Peter Bogdanovich, Frances Ford Coppola



The Kindness of Strangers

The Souvenir

Gareth Jones

What She Said: The Art of Pauline Kael

Varda by Vada

The Operative



EXTRAS CRAZY RICH ASIANS Directed by John M. Chu Starring: Constance Chu, Henry Golding, Michelle Yeoh Based on Kevin Kwan’s best-selling novel, Crazy Rich Asians follows New Yorker Rachel Chu (Constance Wu) as she accompanies her long-time boyfriend, Nick Young (Henry Golding), to his best friend’s wedding in Singapore and meets Nick’s family for the first time. It soon becomes clear that the only thing crazier than love is family. This emotionally-charged film will have you laughing, crying, tapping your feet to the soundtrack. As of October 2018, this film had grossed over $235 milion worldwide, making it the highest-grossing comedy in a decade.


SPECIAL FEATURE Crazy Rich Fun: Join director John M. Chu, novelist Kevin Kwan and the dream-team cast of Crazy Rich Asians as they supercharge the book and have crazy rich fun in the exotic locations of Singapore and Malaysia.


EXTRAS DVDS OF THE MONTH 24 FRAMES A film by Abbas Kiarostami For what would be his final film, Iranian director Abbas Kiarostami gave himself a challenge: to create a dialogue between his work as a filmmaker and his work as a photographer, bridging the two art forms to which he had dedicated his life. Setting out to reconstruct the moments immediately before and after a photograph is taken, Kiarostami selected twenty-four still images-most of them stark landscapes inhabited only by foraging birds and other wildlife-digitally animated each one into its own subtly evolving four-and-a-half-minute vignette, creating a series of poignant studies in movement, perception, and time that is also a sustained meditation on the process of image making. 24 Frames is a graceful and elegiac farewell from one of the giants of word cinema.


*2K digital master *New interview with director Abbas Kiarostami’s son Ahmed Kiarostami, who helped finish the film after his father’s death *New conversation between film scholar Jamsheed Akrami and film critic Godfrey Cheshire



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Movies by Mills (February 2019)  

A Magazine for Discerning Cinemagoers and Filmmakers. In The February Edition of Movies by Mills Magazine: Vice, Green Book, Bergman: A Year...

Movies by Mills (February 2019)  

A Magazine for Discerning Cinemagoers and Filmmakers. In The February Edition of Movies by Mills Magazine: Vice, Green Book, Bergman: A Year...

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