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The Patience Stone
Director: John Crowley
Director: Atiq Rahimi
Writer & Director: Haifaa Al Mansour
Writer & Director: Jerusha Hess
Kill Your Darlings
Director: John Krokidas
Director: Joshua Michael Stern
Out of the Furnace
Director: Scott Cooper
Writer & Director: Joseph Gordon-Levitt
A look at 38 upcoming releases
Film Guide Senior Staff Publisher
Jonathan Douglas Creative Director
Rodney Griffin Designer
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email: jdouglas@ regalcinemas.com
Kill Your Darlings
Out of the Furnace
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directed by Joshua Michael Stern
t only takes one person to start a revolution. Jobs is the extraordinary story of Steve Jobs, the original innovator and ground-breaking entrepreneur who let nothing stand in the way of greatness. The film tells the epic and turbulent story of Jobs as he blazed a trail that changed technology—and the world—forever. The most challenging part of making any biographical film is finding the right actor to portray the subject—someone who has the right physical characteristics, acting ability and magnetism, but also a special affinity for the character that comes through on the screen. The Jobs filmmakers found all that and more in Ashton Kutcher. It was soon after Jobs’ passing that Kutcher’s agent handed him Matt Whiteley’s script. The actor read it right away and jumped at the chance to play Jobs, which he saw as a way to honor a man whose genius—like that of Thomas Edison or Henry Ford— is in evidence everywhere around us. He observed that Jobs was exceptional in his ability to fuse form and function to create products that were both beautiful and worked well. “Very rarely do you have someone who can do both—someone like Leonardo Da Vinci, who can paint a Mona Lisa and build a flying contraption.”
As soon as he signed on, the actor worked tirelessly for several months learning everything he could about Jobs’ personality and idiosyncrasies, even delving deeply into the engineering and history behind Apple’s products. By the time shooting began, Kutcher’s co-stars were astonished at his detailed knowledge of computer technology. Lukas Haas (Inception, Witness), who plays Daniel Kottke, the friend Jobs went to India with as a young man, recalls a moment between takes for a scene in which he solders a motherboard for the Apple I computer. “I’m just soldering it together and I don’t know what the hell I’m doing or how this stuff works,” Haas says. “And Ashton just started talking about it. He had studied everything. He not only knew everything about Steve and about Apple—he knew how the circuitry worked.” Josh Gad, who plays Apple co-founder Steve Wozniak, says he was also inspired by Kutcher’s commitment to technological authenticity. “We’d be on set, and there would be a circuit board sitting there and he’d literally look at it and go, ‘this little part of it would not have been invented yet.’ And lo and behold, our research department would go back and check and say, ‘he’s right.’ Things like this happened time and time again. It would be the tiniest detail but he had so fully immersed himself into this role that he knew.”
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morning of the shoot I was thinking, ‘how would you find somebody’s house in 1977? No matter how much money you had, you couldn’t look it up on your iPhone.’ So I have a FiloFax-type organizer and a map. That was just my little tip of the hat to how things have changed. I wanted to be pulling up into his front yard with the old-school version of how you found somebody’s house, which was you wrote down the address and you looked it up on a map.”
Gad is happy to have been able to portray Wozniak, a man that he says many people today know as “that guy from Dancing with the Stars.” “He is actually one of the most important inventors of the 20th century. He’s the man who essentially created the personal computer. Up until that time, there wasn’t really a computer that you took home that had a monitor and a keyboard.” One of the through-lines of the film is the evolving relationship between Woz and Jobs, from their days as friends starting a small company in Jobs’ parents’ garage to their lives as hugely successful business partners to their eventual separation.
Stern believes that Steve Jobs had an almost spiritual calling, a mission that he stuck to his entire life. “We’re talking about a man who for his whole life never lived really more than eight or nine miles from where he was born. He was a creature of habit and constancy. It’s really hard to think and believe in one thing for that amount of time. Other than people who have a calling towards religious vocation, whereby they commit themselves to one thing, it’s very rare to find a figure like Steve Jobs who committed himself to something so singularly.” Or as Ashton Kutcher puts it: “Everything that Steve Jobs ever did, he did for a reason. Some people didn’t agree with his reasons, but I think he is someone people are going to celebrate for a very, very, very long time.” Click here to watch the official movie trailer.
“Woz is just this loveable, gregarious guy who almost has a socialist theory about sharing what he creates,” says Gad. “And Jobs was much more about the profitoriented side of things and creating a business. The film focuses on that dynamic and that journey.” Dermot Mulroney (The Grey) plays the role of early Apple investor Mike Markkula. After retiring from Intel at 32, Markkula was looking for a start-up to finance when he got a tip about Jobs and Wozniak’s young company from investor Don Valentine. “My character came in right as they were developing the Apple II and writes them a check, and that’s when things really take off,” says Mulroney.“I remain an active partner with Steve Jobs for 10 years or so. Then Jobs leaves the company and I’m still here when he returns. And then he gets rid of me. It’s kind of a corporate battle of wills.” Although Mulroney didn’t know a lot about the history of Apple, he was well aware of the impact Jobs & Co. have made on our daily lives. He sought to dramatize that in his first scene in the film when he arrives at Jobs’ parents’ Palo Alto garage. “My character is obviously rich. He drives up in a gold Corvette and a dollar-bill-green suit. But the fall 2013
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directed by Atiq Rahimi
young wife in Afghanistan looks after her much older husband, who is in a vegetative state after being shot in the neck during the war. Her husband was abandoned by his fellow Jihadists and even his brother after his injury, and she must now tend to him or he will die. Left alone with her husband she has no one to talk to, so she begins to talk to her comatose husband. She talks about her childhood, her suffering, her frustrations, her loneliness, her dreams and her desires. She says thing that she could never have told him during their previous 10 years of marriage. In this way, he becomes a “Synqué Sabour,” a magic stone that, according to Persian mythology, when placed in front of a person shields them from unhappiness, suffering and pain.
But while she patiently cares for her husband and awaits for a time when he might awaken, she is must also struggle to survive and live herself. She might receive temporary relief from her suffering by confiding in her unconscious husband, but to truly live she will need to find someone she can make a meaningful connection to.
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Atiq Rahimi talks about Patience Stone When I asked Jean-Claude Carrière to adapt my book The Patience Stone, he said “What are you expecting from me?” “Betray me!” I answered. It wasn’t said in provocation, but through cinematic ambition. Because what is exciting and challenging for a writer-director is finding a way to exceed one’s own book, to show and say in his film all the things he didn’t manage to write using words. The book’s central idea is the myth of Syngué Sabour, the patience stone, a stone on which you can shed your misfortunes, your complaints, your secrets until it’s so full it bursts. In this story, the stone is the husband, a warrior paralyzed by a bullet in the neck. The woman, to bring him back to life, has to pray from morning till night for 99 days. But that prayer soon turns into confession. She murmurs into his ear all the things she has kept locked inside her for so many years. As in my previous books, the characters evolve in extreme circumstances and in a single setting.
Our film adaptation moves away from this static, theatrical situation, by rearranging the linear narrative to a more cinematic structure. By following the woman’s point of view, the camera is able to leave the bedroom, to follow the main character out of the house, into the streets of Kabul and the heart of the war. The camera is mobile, light, wandering, like in Rosselini’s Germany, Year Zero, giving the impression of capturing spontaneous moments. On the other hand, the interior scenes revolve around the heroine’s thoughts and feelings. Sensuality, intimacy, dreams and phantasms, memories, regrets, and remorse prevail and haunt our heroine’s mind. The camera harmonizes to the rhythm of the characters’ emotions, to their very breaths. Supple, gracious, sensual, the camera slides through the bedroom, through the woman’s intimate world, like a confidante, an accomplice.
and Ashes,” referring to the mourning and violence that afflict Afghanistan. He adapted it to the cinema himself in 2004. Earth and Ashes was shown in Cannes and received a glowing reception from the public. As involved in writing as he is with filmmaking, Rahimi published “A Thousand Rooms of Dream and Fear” in his native language in 2002, “le Retour Imaginaire”, a photo book, and “The Patience Stone” in 2008. Sony Pictures Classics is releasing The Patience Stone nationwide this autumn. Click here to watch the official movie trailer.
The contrast between the two worlds, outside/ inside, social/intimate, war/love… is interpreted by contrasting imagery and lighting: the crude exteriors, and those, soft and veiled, of the interior where the woman is lit like a source of light and color, as can be seen in the miniature Persian carpets. Passages lead from the present to the past, but the woman’s memories aren’t depicted as arbitrary flashbacks. It is always elements and situations in the present that lead us into the past. For example, the “combat quail” race scene that the heroine witnesses in the streets of Kabul reflects not only what the character lived during her childhood, but transforms itself into a scene from her own memory. Likewise, the wedding party in the whorehouse reincarnates our main character’s wedding. In this way the flashbacks play a more poetical than simply structural role. This is how characters in the book, who only exist through the memories and stories told by the woman, come to life—like the aunt who is a formative character in the life of our heroine, or her father, a breeder of combat quails.
About Atiq Rahimi Atiq Rahimi is a writer and filmmaker who is a recognized representative of Afghan culture in Europe. A Francophile and former student at the Franco-Afghan high school of Kabul, Atiq fled his country in 1984 and received asylum from the French state where he received a doctorate of cinema at the Sorbonne. The author of several documentary films, Rahimi considers the cinema as a universal language, the best to discuss about the situation in his country of origin. Yet in 1996, when the Taliban took power in Kabul, he felt the need to switch to writing and wrote “Earth fall 2013
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ADJDA is a 10-year-old girl living in a suburb of Riyadh, the capital of Saudi Arabia. Although she lives in a conservative world, Wadjda is fun loving, entrepreneurial and always pushing the boundaries of what she can get away with. After a fight with her friend Abdullah, a neighborhood boy she shouldn’t be playing with, Wadjda sees a beautiful green bicycle for sale. She wants the bicycle desperately so that she can beat Abdullah in a race. But Wadjda’s mother won’t allow it, fearing repercussions from a society that sees bicycles as dangerous to a girl’s virtue. So Wadjda decides to try to raise the money herself by entering her school’s Koran recitation competition. The competition isn’t going to be easy, especially for a troublemaker like Wadjda, but she is determined to fight for her dreams.
written & directed by Haifaa Al Mansour
into it. It was important to me that the story was an accurate portrayal of the situation of women in Saudi Arabia and that the characters were believable as ordinary people who have to maneuver through the system the only way they know how. FG: Is the character of Wadjda inspired by your own childhood, are there any autobiographical elements to this story? HAM: Well, I come from a very supportive and liberal family. I remember when I was a kid my father took me along with my brothers to get bicycles and I chose a green one. I am extremely lucky to have a father who wanted me to feel dignified as a woman, but it was definitely a different story for my classmates and friends who would have never even dreamed of asking for a bicycle. But I think the heart of the story is something anyone can relate to, which is the idea of being labeled different or deviant for wanting something outside of what is traditionally considered acceptable. The Saudi culture can be especially brutal and unforgiving to people who fall out of step with the society, so there is a real fear of being labeled an outcast. So in some ways, the story is part of my life and the things I encountered in my life. A lot of my experiences, along with those of my friends and family, are reflected in the film in some way; they didn’t just come from a concept in my mind.
In Conversation with Haifaa Al Mansour Film Guide: You chose to approach a complex theme like the situation of women in Saudi Arabia through the seemingly simple story of a girl who wants a bike. Why? Haifaa Al Mansour: I wanted to give the intellectual debate a human face—a story that people can relate to and understand. The film does not present a big story but a small one, a story about the emotions of a few main characters, a young girl and her mother, the lives of these characters within their society. I don‘t think people want to sit through a film and be lectured to as much as go on a journey that is inspiring and touching. As simple as the story may seem, I think that more complex themes are woven
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FG: There are several strong female characters— Wadjda herself, her mother, the school principal… Is WADJDA a women‘s film? HAM: Maybe it is a women‘s film! But I really didn‘t intend it that way. I wanted to make a film about things I know and experienced—a story that spoke to my experiences and also to average Saudis. It was important for me that the male characters in the film were not portrayed just as simple stereotypes or villains. Both the men and the women in the film are in the same boat, both pressured by the system to act and behave in certain ways, and then forced to deal with the system’s consequences for whatever action they take. FG: Growing up in a country with no movie theaters, how did you discover cinema and decide to pursue it as a mode of expression and a career path?
HAM: I grew up in a small town in Saudi Arabia. Saudi Arabia is a country without movie theaters and bans cinema, but my father made film accessible to us and we had family nights where we would all watch films together. I loved films so much, but I never thought I would be a filmmaker, let alone the first female filmmaker in Saudi Arabia. FG: How did you cast your young star? HAM: In a place as conservative as Saudi Arabia it is hard to find women and young girls who are willing to appear on camera and in public. Waad came to one of the sessions we set up in Riyadh and I could see that she already had the look and attitude for the part. All the girls that we had seen before her did not have the spirit that was needed; they were either too sweet or not cheeky enough. And suddenly Waad appeared, with her headphones on her head, wearing jeans and with tattoos on her hands. FG: What was it like for you as woman to direct a movie in Riyadh? HAM: Challenging and extremely rewarding at the same time. Every step was difficult and it was quite an adventure. I occasionally had to run and hide in the production van in some of the more conservative areas where people would have disapproved of a woman director mixing professionally with all the men on set. Sometimes I tried to direct via walkie-talkie from the van, but I always got frustrated and came out to do it in person. We had a few instances of people voicing their displeasure
with what we were doing, but nothing too disruptive. We had all of the proper permits and permissions so overall it went relatively smoothly. FG: What is the current situation for Saudi women who have creative or artistic aspirations? HAM: I am so impressed with all of the young women I meet in Saudi Arabia now and know that they are growing up in a different era than I did, with so many more opportunities. I want to help provide a platform for their unheard voices and help them tell their stories to the world. It is so hard for women to be themselves. If they act outside of accepted norms they are considered â€œcontroversialâ€? anywhere in the world, let alone in a conservative and a very socially strict place like Saudi Arabia. Women are always expected to be a certain way and whenever they break away from that, they are usually labeled and stigmatized. I hope my films will help some of them find the courage to take risks and talk about the issues that are important to them. Sony Pictures Classics is releasing WADJDA nationwide this autumn. Click here to watch the official movie trailer.
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written & directed by J e ru s h a H e s s Austenland is a romantic comedy about 30-something, single Jane Hayes (Keri Russell), a seemingly normal young woman with a secret: her obsession with all things Jane Austen. But when she decides to spend her life savings on a trip to an English resort catering to Austen– crazed women, Jane’s fantasies of meeting the perfect Regency-era gentleman suddenly become more real than she ever could have imagined. The movie is based on the novel by Shannon Hale, who also co-wrote the script. The film was directed (and co-written) by Jerusha Hess who as a film student at Brigham Young University cowrote the smash hit Napoleon Dynamite in 2004. Since then she has co-written the screenplays for Nacho Libre and Gentlemen Broncos. Austenland marks her directorial debut.
Sony Pictures Classics is releasing Austenland nationwide this autumn.
A Letter from the Director I remember thinking after my husband and I finished Gentlemen Broncos, our weirdest and most testicular film to date, that I really needed to start making movies for girls. Cut to a dinner meeting with author Shannon Hale. She was smart and funny and handed me a book she had recently published, “Austenland.” I read it in an evening and we started writing the screenplay within the month. The book was so fresh and read like a film; it was a joy to adapt it for the screen and write with Shannon. Since the romantic element in the book was always strong, my goal was to make the film as quirky and light as possible. The result is a ridiculous romp in Regency culture, commenting not only on the historical time but also on the Jane Austen film genre itself. Although the film gently pokes at the Austen “aficionado” it never intends to alienate the fans, rather to celebrate the fun and funny of it all. Austenland was as girlishly indulgent to make as I hope it is for you to watch. Enjoy. — Jerusha Hess Click here to watch the official movie trailer.
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Kill Your Darlings directed by Jo h n K ro k i d a s
insberg. Kerouac. Burroughs. And Lucien Carr. The last name may be less familiar, but the real-life character was the linchpin who first brought together these three icons of American literary and cultural revolution in a galvanizing drama of murder and obsession. “People have been fascinated with these guys for the past 50 or 60 years.” says Kill Your Darlings director and co-writer John Krokidas, “But we wanted to approach this not as a biopic about these three legendary writers, but rather as a story of who they were as adolescents—awkward, still trying to figure out who they really were. In 1944, when Allen Ginsberg was 17 turning 18, when Burroughs was 29 going on 30, they still hadn‘t written a word. For us, what was fascinating was not so much the great men that they would become, but the insecure adolescents and young adults who were trying to figure out that greatness inside.” In 1944, Allen Ginsberg was a nervous, straitlaced freshman at Columbia University. Jack Kerouac was a washed-up college running back who had lasted all of eight days in the U.S. Navy. William S. Burroughs was a medical school dropout, former door-to-door insect exterminator and budding drug addict, hanging on the fringes of the New York bohemian scene after following Lucien Carr and David Kammerer, friends from his native St. Louis, to Manhattan. But within months of their coming together to declare and pursue their “New Vision” for art and literature, Kammerer was dead, stabbed in the heart by his former protégé and lover, Carr. Shot from a script by director Krokidas and Austin Bunn, Kill Your Darlings features a compelling young ensemble that includes Daniel Radcliffe (the Harry Potter series) as the young Allen Ginsberg, Jack Huston (Boardwalk Empire) as Jack Kerouac, Ben Foster (The Messenger) as William S. Burroughs, Dane DeHaan (In Treatment) as Lucien Carr and Michael C. Hall (Dexter) as David Kammerer. Rounded out by a supporting cast that includes Elizabeth Olsen (Martha Marcy May Marlene), Jennifer Jason Leigh (Margot at the Wedding), Kyra Sedgwick (The Closer) and David Cross (Arrested Development), Kill Your Darlings delivers a picture of the nascent Beat Generation that we‘ve never seen before, and tells the true story of the emotional crucible that shaped its voice and vision.
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Noir Goes Nouvelle “When I started work on Kill Your Darlings, I began looking at the culture of the times,” says director John Krokidas. “It ‘s 1944. Double Indemnity won Best Picture; Gilda came out that year. It was a high point in American film noir, and I said to myself ‘Wow, we‘ve got a movie set in 1944, it‘s based on a murder, what if we tried to create this as a film noir?’” “And that lead me to thinking about how the French took hold of film noir and it became the inspiration for Breathless, for Shoot the Piano Player, for a lot of the early films of the French New Wave, where the camera went off the tripod and people started breaking rules,” continues Krokidas. “It was a much more asymmetrical, jazzy, free-form approach to filmmaking, and that echoed the movement of the characters, going from a much more staged, trapped, symmetrical place in their lives to—as they found their collective voice—something much more jazzy and free-form. So the one-line version that I communicated to my department heads was, let‘s start at film noir and slowly progress to the free feeling of the French New Wave.” Director of Photography Reed Morano (Frozen River, Little Birds) embraced this vision immediately. “What I liked was that the movie was going to be very visually challenging,” she recalls. “John already had a very specific vision of how he wanted the film to look and it was actually an excellent, cool idea of combining the style of filmmaking from two different eras that were converging at the time that this story actually happened. Once Allen Ginsberg meets Lucien Carr, his whole world opens up, his true self can come out and he can be who he really is, that‘s where the film takes a visual turn to New Wave cinema, hand-held cameras, free-roaming, and more romantic, naturalistic lighting.” Following visual orthodoxies of the noir style represented a new wrinkle for Morano. “All the other movies that I‘ve done have been very naturalistic, very much based in realism. The difference in this movie,” she continues, “was that it really challenged
me creatively to be open to the idea of film noir, which more or less requires lighting that doesn‘t actually have to make sense. Some of it is motivated, but a lot of times you just have to put the light where it looks dramatic and cool and exciting. So we did a lot of that; even in the New Wave section, we still kept a little bit of that there. It basically made me get out of my comfort zone of wanting all the lighting to always be motivated. It pushed me to go a little crazy and do wild things that I never did before.” “One of the reasons I hired Reed,” observes Krokidas, “is that not only had she worked on so many successful, low-budget independent films, but she has a natural instinct, a rhythm, a dance inside of her where she can anticipate where the actors are going to move, and what, emotionally, the next thing we needed to see was. Somebody says a provocative line? She knew exactly when and how to pan over to the reaction of the character who heard it. And I knew that she and I were going to have to be able to dance really fast alongside the actors in order to capture every scene in this movie on our budget and time schedule.” Ultimately, Kill Your Darlings isn‘t a film about the death of David Kammerer, or the birth of the Beat movement, but a personal and generational coming of age that‘s simultaneously highly specific and inherently universal. “For me,” reveals Krokidas,“ at the heart of this movie is the inspiration of knowing that you can do something important with your life, but also the drama and the conflict of what you have to go through in order to become yourself. The fancy way of saying this is, it‘s about the emotional violence that comes with the birth of a self. For me, the murder is just a literal interpretation of that violence, of that death that needs to happen in order for one to be reborn.” Click here to watch the official movie trailer.
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ERIC BAN A REBECCA HAL L CIA R Á N HIN D S J IM B R OA D B E NT
FROM THE PRODUCERS OF 12
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SEE CLOSED CIRCUIT AT STARTING AUGUST 28TH!
rom the producers of Tinker, Tailor, Soldier, Spy comes the new international thriller Closed Circuit. Following a mysterious explosion in a busy London market, the police swoop in, a suspect is detained, and the country prepares for one of the most high-profile trials in British history. Two exceptional lawyers with a romantic past step into a dangerous web of secrets and lies, and when evidence points to a possible British Secret Service cover-up, itâ€™s not just their reputations but their lives that are at stake. The film stars Eric Bana, Rebecca Hall, Julia Stiles and Jim Broadbent.
Click here to watch the official movie trailer.
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directed by Scott Cooper
ABOUT THE FILM
rom the critically-acclaimed writer and director of Crazy Heart, Scott Cooper, comes a gripping and gritty drama about family, fate, circumstance, and justice. Russell Baze (Christian Bale) and his younger brother Rodney (Casey Affleck) live in the economicallydepressed Rust Belt in western Pennsylvania and have always dreamed of escaping and finding better lives. “I’ve always had great respect for those who work very hard for a living and the steel industry has always interested me; the result of their work touches us all. The themes that course through Out of the Furnace—themes of loss, despair, emotional and physical decline speak—to all corners of the world,” says director Scott Cooper Russell’s life isn’t easy, but he’s doing his best to get by. He has a dead-end, blue-collar job at the local steel mill, he’s taking care of his terminally ill father, and looking out for Rodney, who’s struggling to adapt to normal life following a tour of duty in Iraq. “Themes of loyalty to family and redemption and re-birth play heavily in this film,” says Cooper. It’s these tribulations that change the course of the narrative and the characters’ lives—emotionally and physically. “I thought it was important for the audience to understand what it means to have that strong sense of family… themes that permeate the American classics in the writings of Faulkner and Hemingway.” Always in search of a deep sense of authenticity, Cooper filmed Out of the Furnace entirely on location, which is an integral part to his process of moviemaking. “I really prefer shooting on location. In fact,” says Cooper, “I’ve never shot inside a
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sound stage. In this situation the locations play for themselves: Braddock plays for Braddock; Rankin plays for Rankin and the Carrie Furnace plays for Carrie Furnace. If I wasn't able to shoot in Braddock, I wouldn't have made the film. It's as simple as that.” “This is the story of a man who works in the heart of a blast furnace. It shows the plight of the citizens of Braddock. And it mirrors what's occurring in America today; how the denizens have banded together and emerged stronger,” says Cooper. [It's] “much like the process of what steel undergoes—intense heat which emerges stronger, forever changed… hardened as it comes out of the furnace.”
ABOUT THE CAST Award-winning actor Christian Bale is “so precise, thoughtful and considerate about the story, about the narrative and about his choices. His performance in this film is simply breathtaking. I personally think this is the best work of his career,” says Cooper. Bale was in England in the middle of making another movie when he first read the script. “I found it riveting and I read it with the enjoyment you would a book, which is very rare with a script. There was a thread going through it and something I couldn’t quite put my finger on, but that just made me fascinated with the whole piece…you know there’s something there that means a great deal…that there’s this possibility for discovery as you’re making the movie and figuring out what it is,“ states Bale. The characters in this story depict American fortitude and the power of family and the bonds
of brotherhood. “I feel it’s a real American story. And it’s not hitting you over the head because Scott was able to come through with rich, fleshedout complete characters,” states Bale. “Casey Affleck, one of the great, young actors and one of the best in the business, probably gives the performance of his career in Out of the Furnace. His performance is so rich and detailed. Both Christian and Casey are actors who work right in the moment and you never know what you’re going to get from them. It’s fresh and spontaneous, and always in keeping with the “characters” (Christian and Casey).” says Cooper. “Woody Harrelson takes it just to the edge, but not over the edge and is simply riveting.” Additionally, Cooper notes, “Zoë Saldana provides a strong female center to the film and helps ground it with a wonderfully nuanced performance. Sam Shepard’s character ‘Uncle Red’ really helps Russell Baze in giving him a sense of hope, family and direction. Shepard’s a true national treasure and a master of all he tackles, whether it be playwriting for the stage or lending his unique persona to portraying a movie role with quiet intensity while providing the voice of reason.” Willem Dafoe “is so expressive and can say so much with just a look. He is a consummate professional, always trying to give you more,” continues Cooper, “and then taking it to the next step so skillfully. And Forest Whitaker simply grounds every scene he appears in. And is work is so specific and truthful. Just superb." Click here to watch the official movie trailer.
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written & directed by Jo s e p h G o rd o n - L e v i t t
on Martello objectifies everything in his life: his apartment, his car, his family, his church and, of course, women. His buddies even call him Don Jon because of his ability to pull—“10s” every weekend without fail. Yet even the finest flings don’t compare to the transcendent bliss he achieves alone in front of the computer watching pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love through relationships with two very different women. Crass, funny and startlingly sincere, Joseph GordonLevitt’s Don Jon resonates with its utterly authentic realization of people and place, transcending New Jersey stereotypes by infusing its characters with tantalizing complexities. Gordon-Levitt’s chemistry with costars Scarlett Johansson and Julianne Moore ignites the screen with heat and emotion. With abundant charm and formidable wit, Don Jon marks the evolution of an incredibly talented actor into a truly gifted writer/director.
Q&A WITH DIRECTOR JOSEPH GORDON-LEVITT Film Guide: What was the inspiration behind Don Jon? What drove you to write it? Joseph Gordon-Levitt: I wanted to tell a story about how people objectify each other. Why? Perhaps it’s because I’ve been an actor my whole life and our culture has a weird tendency to objectify people in movies and TV. Or perhaps it’s because I was raised with the ideals my mom fought for in the feminist movement of the ’60s and ’70s. Maybe it’s just because I’m always fascinated by how people connect to one another or, in this case, fail to do so. As I thought about instances of people objectifying each other, the image of a guy sitting in front of a computer watching pornography struck me as a perfect metaphor. The woman on the screen is
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nothing but an object to him; there’s no connection whatsoever. Then the actor in me took over and I started thinking about who this guy could be. Why is he watching porn? Because he can’t find a partner? No, that wouldn’t work; he would just seem lonely. But if he were a guy who gets with lots of women all the time and is nevertheless drawn to the one-way nature of pornography, that seemed to really bring out the theme of objectification. So I began pondering the archetypal “ladies man” and it wasn’t long before I landed on the legendary, fictional character of Don Juan. Now, classic Don Juan stories are usually tragedies where the protagonist never learns anything and is eventually ruined by his shortcomings. But I like stories with a good balance of darkness and light, and I wanted the movie to have that light at the end of the tunnel; I wanted it to have hope. So I decided to make it more of a comedy. Sure it’s a dark comedy, and yes the character I play is a pretty despicable guy when you meet him, but by the end of the movie I think the audience will feel the beginnings of Jon’s redemption. Ultimately Don Jon is not only a movie about how people objectify each other. It’s about how we connect with each other. In that wayI’d call it a love story—a really fucked-up love story. FG: Talk about your writing process. JGL: I think I had the first seeds of the story about four years ago. Various ideas rolled around in my head for a couple years. I’d brainstorm and make notes. It was actually in Vancouver while I was shooting 50/50 that I first landed on the comedic tone and started picturing Jon as an east coast guido with nice biceps and too much gel in his hair. About six months later, while I was working for the ever-clever screenwriter Dave Koepp on Premium Rush, I started writing it in screenplay form. I never worked on it like a job. It was a treat in which I’d indulge myself when I had some spare time. It took
about a year. I was in London shooting The Dark Knight Rises when I completed my first draft. FG: What were the challenges of playing your character? JGL: Having written it, I had way more time to prepare for this role than I’ve ever had before. So by the time we got to production, the acting all came pretty easily. I suppose the most unusual challenge with this character was physical—Jon’s a vain guy who prides himself on his body-builder physique. Me personally, I like getting exercise when I can, but I’ve never been much into pumping iron. For six months leading up to shooting, I went to the gym five days a week, ate ridiculous amounts of chicken, and put on about twelve pounds of muscle. People sometimes ask me if I intend to keep that routine up now that we’re done shooting... Absolutely not. FG: How did Scarlett Johansson get involved? JGL: The entire time I was writing the character of Barbara Sugarman, I always pictured Scarlett playing the part. I never thought of anyone else. Partially because of her hilarious “Chandeliers” sketch on SNL and partially because I’ve admired so many of her performances in films like Lost In Translation, Vicky Christina Barcelona, or even The Man Who Wasn’t There. We didn’t know each other at all then, but I wanted to talk to her about the script before she read it, so I flew to Albuquerque where she was shooting The Avengers. We had a long conversation about men and women, love and lust, connection and objectification, pornography and Hollywood romance, family, religion, body image; you name it. Shortly thereafter she read it and, fortunately, she liked it. I don’t know what I would have done if she hadn’t! Click here to watch the official movie trailer. fall 2013
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FIL M PREVIEWS
a quick look at upcoming alternative & independent films
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12 YEARS A SLAVE Director: Steve McQueen
This is the incredible true story of one man’s fight for survival and freedom. In the pre-Civil War United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty, as well as unexpected kindnesses, Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon’s chance meeting with a Canadian abolitionist will forever alter his life.
Director: Richard Curtis At the age of 21, Tim Lake discovers he can travel in time. The night after another unsatisfactory New Year party, Tim’s father tells his son that the men in his family have always had the ability to travel through time. Tim can’t change history, but he can change what happens and has happened in his own life—so he decides to make his world a better place by getting a girlfriend. However, when he accidentally erases the timeline, he must try and win her over again.
Director: Martha Shane, Lana Wilson Since the assassination of Dr. George Tiller in 2009, only four doctors in America openly perform third-trimester abortions. After Tiller is an absorbing, moving and enlightening look at the lives of these four remarkable individuals.
ALL IS LOST
Director: J.C. Chandor Deep into a solo voyage in the Indian Ocean, an unnamed man—played by Robert Redford— wakes to find his 39-foot yacht taking on water after a collision with a shipping container left floating on the high seas. With his navigation equipment and radio disabled, the man sails unknowingly into the path of a violent storm. Despite his success in patching the breached hull, his mariner’s intuition and a strength that belies his age, the man barely survives the tempest. Using only a sextant and nautical maps to chart his progress, he is forced to rely on ocean currents to carry him into a shipping lane in hopes of hailing a passing vessel.
FIL M PREVIEWS THE ARTIST AND THE MODEL Director: Fernando Trueba
In the summer of 1943—in occupied France—a famous old sculptor who is tired of life and wars finds the desire to work on his last masterpiece when a beautiful young Spanish girl comes knocking after escaping a refugee camp in the South of France.
AS I LAY DYING
Director: James Franco Directed by Oscar-nominated James Franco from a screenplay by James Franco and Matt Rager, As I Lay Dying is adapted from the 1930 classic American novel by William Faulkner. The story chronicles the Bundren family as they traverse the Mississippi countryside to bring the body of their deceased mother Addie to her hometown for burial. Addie’s husband Anse and their children Cash, Darl, Jewel, Dewey Dell, and the youngest one Vardaman, leave the farm on a carriage with her coffin—each affected by Addie’s death in a profound and different way.
Director: Woody Allen Woody Allen trades New York City for San Francisco with his comedy-drama Blue Jasmine, starring Cate Blanchett as a troubled former Manhattanite who moves to the City by the Bay to live with her sister after her wealthy husband divorces her. Forced to put her life back together piece by piece while under the effect of powerful anti-depressants, she dates a series of men, attempts to build a career and slowly learns how to count on herself to survive.
Director: Lee Daniels Lee Daniel’s The Butler tells the story of a White House butler who served eight American presidents over three decades. The film traces the dramatic changes that swept American society during this time, from the civil rights movement to Vietnam and beyond, and how those changes affected this man’s life and family.
Director: Costa-Gavras The film follows an executive who becomes CEO of a large bank, only to upset the bank’s board of directors when he begins to take unilateral control, laying off many of the employees and making a corrupt deal with the head of an American hedge fund.
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FIL M PREVIEWS DIANA
Director: Oliver Hirschbiegel This film takes audiences into the private realm of one the world’s most iconic and inescapably public women, Diana, the Princess of Wales. On the occasion of the 16th anniversary of her sudden death, Oliver Hirschbiegel directs two-time Oscar® nominee Naomi Watts as Diana. The result is a window into the tumultuous, change-filled period from 1995-1997, in the wake of Diana’s shattering divorce from Prince Charles and at the moment when she stood on the cusp of a different life, evolving into a global humanitarian, a master of maneuvering fame and becoming her own woman.
Director: Johnnie To Manufacturing just fifty grams of meth in China will earn you a death sentence. Timmy Choi has manufactured tons and, after a violent lab accident, he’s in the custody of Captain Zhang. Now he has only one chance to avoid execution: turn informant and help Zhang’s undercover team take down the powerful cartel he’s been cooking for. But as the uneasy allies are forced to compress months of police work into just 72 sleepless hours, the increasingly desperate police are quickly stretched past their limits. As things spin wildly out of control, the line between duty and recklessness is blurred, and it becomes unclear whether Zhang or Choi actually has the upper hand.
THE FIFTH ESTATE Director: Bill Condon
In a dramatic thriller based on real events, The Fifth Estate reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange and his colleague Daniel Domscheit-Berg team up to become underground watchdogs of the privileged and powerful. Soon they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of our time: what are the costs of keeping secrets in a free society—and what are the costs of exposing them?
THE FROZEN GROUND Director: Scott Walker
This story is inspired by the incredible true story that follows Alaskan State Trooper Jack Halcombe as he sets out to end the murderous rampage of Robert Hansen, a serial killer who has gone unnoticed for 13 years. As the bodies of street girls start to pile up in Anchorage, fear strikes a chord with the public. Risking his life, Halcombe goes on a personal manhunt to find the killer before the next body surfaces. When a seventeen-year-old escapee reveals key information about the case, Halcombe is finally on the trail of the killer. But will he catch him in time to save the next victim?
GRACE UNPLUGGED Director: Brad J. Silverman
This is an inspirational movie starring Amanda “AJ” Michalka as 18-year-old Christian singer/songwriter, Grace Rose Trey. Beautiful, highly talented and restless, Grace is undiscovered outside church, where she performs each Sunday with her gifted former rock star father, Johnny. One day, without warning, Grace leaves for Los Angeles. She has landed a record deal with the help of Johnny’s ruthless former manager and producer, “Mossy” Mostin. Mossy sees in Grace a potential pop superstar. Cutting off contact with her parents, Grace seems prepared to walk away from her Christian faith and music to achieve her long-suppressed fantasy of Hollywood superstardom. Will the experience cause her to reject her faith, or rediscover it?
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FIL M PREVIEWS The Grandmaster Director: Wong Kar Wai
Directed by acclaimed filmmaker Wong Kar Wai, The Grandmaster is an epic action feature inspired by the life and times of the legendary kung fu master, Ip Man. The story spans the tumultuous Republican era that followed the fall of China’s last dynasty, a time of chaos, division and war that was also the golden age of Chinese martial arts. Filmed in a range of stunning locations that include the snow-swept landscapes of Northeast China and the subtropical South, The Grandmaster features virtuoso performances by some of the greatest stars of contemporary Asian cinema, including Tony Leung and Ziyi Zhang.
Director: Christian Vincent Hortense Laborie, a renowned chef from Perigord, is astonished when the President of the Republic appoints her his personal cook, responsible for creating all his meals at the Elysée Palace. Despite jealous resentment from the other kitchen staff, Hortense quickly establishes herself, thanks to her indomitable spirit. The authenticity of her cooking soon seduces the President, but the corridors of power are littered with traps. Haute Cuisine is based on the extraordinary true story of President Francois Mitterand’s private cook.
I DECLARE WAR
Directors: Jason Lapeyre, Robert Wilson Armed with nothing more than twigs, their imaginations and a simple set of rules, a group of 12-year-olds engaged in a lively game of Capture the Flag in the neighborhood woods start dangerously blurring the lines between make-believe and reality. Rocks = Grenades. Trees = Control towers. Sticks = Submachine guns. The youthful innocence of the game gradually takes on a different tone as the quest for victory pushes the boundaries of friendship. The would-be warriors get a searing glimpse of humanity’s dark side as their combat scenario takes them beyond the rules of the game and into an adventure where fantasy combat clashes with the real world.
IN A WORLD…
Director: Lake Bell Carol Solomon is a struggling vocal coach. Propelled by the hubris of her father, Sam Sotto, the reigning king of movie-trailer voice-over artists, Carol musters the courage to pursue her secret aspiration to be a voice-over star. Her fiery sister Dani becomes a trusted confidante, and Carol engages the skills of a charming sound techie named Louis. Armed with renewed confidence Carol lands her first voiceover gig—a primo spot—nabbing the job from industry bad boy Gustav Warner. And then the real trouble begins. Carol becomes entangled in a web of dysfunction, sexism, unmitigated ego and pride.
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FIL M PREVIEWS IN THE NAME OF
Director: Malgorzata Szumowska This is a moving tale of compassion, sexual longing, childhood trauma and religious commitment. Father Adam, an attractive and energetic priest, seems more comfortable in a T-shirt, kicking around a soccer ball with his young charges, than preaching a sermon. Living in a halfway-house-type situation, away from the temptations that helped get them there in the first place, the residents of this societal limbo-land are put off balance when a new punk enters the picture and starts spreading rumors about the priest’s sexuality. The boys’ casual-yet-pervasive homophobia and anti-Semitism add to a complicated picture of modern Poland very much in the thrall of historical prejudice.
, INCH ALLAH
Director: Anaïs Barbeau-Lavalette Written and directed by Anaïs Barbeau-Lavalette, the film centers on Chloé, a Canadian medical doctor with the Red Crescent. Because she is stationed at a clinic in Ramallah in the West Bank, she crosses checkpoints every day on her way to and from her apartment in Jerusalem. She slowly finds her loyalties divided as she witnesses the effects of the Israeli-Palestinian conflict on her friends, colleagues and patients on both sides of the border.
, JAYNE MANSFIELD S CAR Director: Billy Bob Thornton
Billy Bob Thornton directs this poignant and searching look at three generations of fathers and sons in the South during the tumultuous ‘60s. It follows the family’s heartfelt—and sometimes hilarious— struggles with long-held resentments, secrets, the memories of war, and how life, death and loss shaped them all.
Director: Jon Turteltaub Last Vegas is a comedy about four old friends who decide to throw a Las Vegas bachelor party for the only one of them who has remained single. Jon Turteltaub directs a legendary cast including Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline.
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FIL M PREVIEWS LET THE FIRE BURN Director: Jason Osder
How often do police drop a bomb on a residential building in order to evict its tenants? That’s what happened in Philadelphia on May 13, 1985, as the culmination of that city’s long-running feud with the controversial black-power group “MOVE.” The bomb set off a fire, and as men, women and children fled the building, a spectacular firefight with the police ensued—broadcast on live TV. Let the Fire Burn grippingly retraces the story using footage of investigative public hearings convened five months after these events, films by “MOVE” sympathizers, and dramatic depositions by survivors.
Director: Robert Rodriguez Danny Trejo returns as ex-Federale agent Machete, who is recruited by the President of the United States for a mission which would be impossible for any mortal man. He must take down a madman revolutionary and an eccentric billionaire arms dealer who has hatched a plan to spread war and anarchy across the planet.
MUSEUM HOURS Director: Jem Cohen
When a Vienna museum guard befriends an enigmatic visitor, the grand Kunsthistorisches Art Museum becomes a mysterious crossroads that sparks explorations of their lives, the city, and the ways artworks reflect and shape the world.
LA MAISON DE LA RADIO Director: Nicolas Philibert
Radio France, the French equivalent of NPR or the BBC, is a beloved cultural institution that broadcasts a vast array of shows daily to culture-loving, politics-mad, talk-obsessed France. Philibert, whose documentary on a rural French schoolroom To Be and To Have was an international hit, collages the many faces of this complex enterprise, interweaving the station’s news reports, literary events, in-studio musical performances, celebrity guest interviews, quiz shows, sports broadcasts, et alia.
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FIL M PREVIEWS POPULAIRE
Director: Régis Roinsard Spring, 1958; 21-year-old Rose Pamphyle lives with her grouchy widower father who runs the village store. Engaged to the son of the local mechanic, she seems destined for the quiet, drudgery-filled life of a housewife. But that’s not the life Rose longs for. When she travels to Lisieux in Normandy, where charismatic insurance agency boss Louis Echard is advertising for a secretary, the ensuing interview is a disaster. But Rose reveals a special gift—she can type at extraordinary speed. Unwittingly, the young woman awakens the dormant sports fan in Louis. If she wants the job she’ll have to compete in a speed-typing competition. Whatever sacrifices Rose must make to reach the top, Louis declares himself her trainer. He’ll turn her into the fastest girl not only in the country, but in the world! But a love of sport doesn’t always mix well with love itself.
ROMEO AND JULIET Director: Carlo Carlei
An ageless story from the world’s most renowned author is reimagined for the 21st Century. This adaptation is told in the lush traditional setting it was written, but it gives a new generation the chance to fall in love with the enduring legend. With an all-star cast including Hailee Steinfeld, Douglas Booth, Paul Giamatti and Stellan Skarsgard, it affords those unfamiliar with the tale the chance to put faces to the two names they’ve undoubtedly heard innumerable times: Romeo and Juliet. Every generation deserves to discover this lasting love.
Director: Shane Salerno Salinger features interviews with 150 subjects including Salinger’s friends, colleagues and members of his inner circle who have never spoken on the record before, as well as film footage, photographs and other material that has never been seen. Additionally, Philip Seymour Hoffman, Edward Norton, John Cusack, Danny DeVito, John Guare, Martin Sheen, David Milch, Robert Towne, Tom Wolfe, E.L. Doctorow, Gore Vidal and Pulitzer Prize winners A. Scott Berg and Elizabeth Frank talk about Salinger’s influence on their lives, their work and the broader culture. The film is the first work to get beyond the “Catcher in the Rye” author’s meticulously built-up wall: his childhood, painstaking work methods, marriages, private world and the secrets he left behind after his death in 2010.
SHORT TERM 12
Director: Destin Daniel Cretton Grace is a twenty-something supervisor at a facility for at-risk teenagers. Passionate and tough, Grace is a formidable caretaker of the kids in her charge—and in love with her long-term boyfriend and co-worker Mason. But Grace’s own difficult past —and the surprising future that suddenly presents itself—throw her into unforeseen confusion, made all the sharper with the arrival of a new intake at the facility: a gifted-but-troubled teenage girl with whom Grace has a charged connection. While the subject matter is complex, this lovingly realized film finds truth—and humor— in unexpected places.
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FIL M PREVIEWS THE SPECTACULAR NOW Director: James Ponsoldt
With sly humor and an intensity of feeling, The Spectacular Now creates a vivid, three-dimensional portrait of youth confronting the funny, thrilling and perilous business of modern love and adulthood. This is the tale of Sutter Keely, a high school senior and effortless charmer, and of how he unexpectedly falls in love with the “good girl” Aimee Finecky. What starts as an unlikely romance becomes a sharpeyed, straight-up snapshot of the heady confusion and haunting passion of youth - one that doesn’t look for tidy truths.
Director: Hannah Fidell Diana, a young, attractive teacher at a suburban Texas high school, is well liked by her students and colleagues. Her life seems to be following the status quo, but in reality she’s having a secret affair with her student Eric. She confides in no one but him, reveling in the teenage terrain of sexting and backseat quickies. Even when the risk of discovery looms over their relationship, her investment in the fantasy remains stronger than reality. Unable to control herself, she heads down a reckless path of self-destruction.
THANKS FOR SHARING Director: Stuart Blumberg
From Academy Award®-nominated screenwriter and first-time director Stuart Blumberg (The Kids Are All Right), Thanks for Sharing is a sharply comic and deeply moving look at a new kind of modern family, as a group of friends in recovery learns to face life together with heart, humor and humility. Academy Award-nominee Mark Ruffalo, Academy Award-winner Tim Robbins and Broadway star Josh Gadanchor join a stellar ensemble that includes Academy Award-winner Gwyneth Paltrow and pop star Alecia Moore in her first film role.
WE ARE WHAT WE ARE Director: Jim Mickle
This is the English-language version of the Mexican film by Jorge Michel Grau. It is about a family who must learn to survive after the death of their father by hunting and putting meat on the table. Oh, and they happen to be cannibals.
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FIL M PREVIEWS WHEN COMEDY WENT TO SCHOOL Directors: Ron Frank & Mevlut Akkaya
Why are there so many Jewish comedians? When Comedy Went to School answers this question with an entertaining portrait of this country’s greatest generation of comics that includes the likes of Jerry Lewis, Sid Caesar, Jackie Mason, Mort Sahl and Jerry Stiller, all of whom make appearances in the film, telling jokes and telling their stories. The answer is also found in upstate New York’s Catskill Mountains, aka the Borscht Belt, where Jewish immigrants transformed lush farmland into the 20th century’s largest resort complex. Those Catskill hotels and bungalow colonies provided the setting for a remarkable group of young comedians to hone their craft and become worldwide legends.
THE WOLF OF WALL STREET Director: Martin Scorsese
Based on Jordan Belfort’s best-selling memoir of the same name, The Wolf of Wall Street chronicles Belfort’s dramatic rise and fall on Wall Street, along with his hard-partying lifestyle and tumultuous personal life, which included drug and alcohol addiction.
, THE WORLD S END Director: Edgar Wright
Director Edgar Wright and actors Simon Pegg and Nick Frost reunite for a third , film following the successes Shaun of the Dead and Hot Fuzz. In The World s End, 20 years after attempting an epic pub crawl, five childhood friends reunite when one of them becomes hellbent on trying the drinking marathon again. They are convinced to stage an encore by Gary King, a 40-year-old man trapped at the cigarette end of his teens, who drags his reluctant pals to their hometown and once again attempts to reach the fabled pub—The World’s End. As they attempt to reconcile the past and present, they realize the real struggle is for the future, not just theirs but humankind’s. Reaching The World’s End is the least of their worries.
YOU WILL BE MY SON Director: Gilles Legrand
Paul de Marseul is a prestigious wine-maker and owner of a renowned chateau and vineyard in Saint-Émilion, but he’s disheartened by the notion of his son Martin taking over the family business. Martin does not seem to have inherited the qualities that Paul esteems in a wine-maker: persistence, creative insight and technical prowess matched with passion for the job and the product. And Paul frequently reminds him of this, whether explicitly or in subtle gestures. When Philippe appears at the vineyard, Paul leaps at the chance to name him as his successor, neglecting the wishes of his own son. The tension in this familial triangle comes to a head when an unexpected event changes everything. Like a fine wine, this drama is full-bodied and complex and provides a fascinating look at the matter of the transmission of knowledge, heritage and tradition in the world of wine.
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