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Diane Keaton Kevin Kline Dianne Wiest Richard Jenkins Elizabeth Moss mark Duplass Ayelet ZuRer Sam Shepard

Director LAWRENCE KASDAN shares his personal connection to

Click here to watch the official movie trailer.


table of

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Hysteria Director: Tanya Wexler

Where Do We Go Now? Director: Nadine Labaki

The Lady Director: Luc Besson

Damsels In Distress Director: Whit Stillman

Moonrise Kingdom Director: Wes Anderson

Seeking a Friend for the End of the World Writer & Director: Lorene Scafaria

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Darling Companion

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Farewell My Queen

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Film Previews

Director: Lawrence Kasdan

Director: Benoit Jacquot

A look at over 30 upcoming releases

Hysteria

Where Do We Go Now?

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Film Guide Senior Staff Editor

Jonathan Douglas Copy Editor

Irene Gillaspy Creative Director

Rodney Griffin Designer

Rona Moss Advertising and Promotions

email: jdouglas@ 1 regal cinema art regalcinemas.com

Darling Companion

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Farewell My Queen

The Regal Cinema Art Film Guide is a free national publication courtesy of Regal Entertainment Group, 7132 Regal Lane, Knoxville, TN 37918. To have your film featured, email jdouglas@regalcinemas.com

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HYSTERIA directed by Tanya Wexler

Casting Hysteria

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Director Tanya Wexler was thrilled with the ensemble she was able to bring on board. “Early on I wrote a wish list of the names we wanted and somehow they are all in the movie,” she muses. “In large part it was the way the story was told in the script – when people would first hear the concept of Hysteria, they expected very broad comedy, but instead what they got was something funny, poignant and with real heart. That surprised and pleased the actors and, I think, ultimately attracted them to the project.”

YSTERIA is a romantic comedy with an accomplished cast led by Maggie Gyllenhaal, Hugh Dancy, Jonathan Pryce, Felicity Jones and Rupert Everett that tells an untold tale of discovery – the surprising story of the birth of the electro-mechanical vibrator at the very peak of Victorian prudishness.

HYSTERIA [hi-ster-ee-uh, -steer-] noun 1. Historically, a medical disorder marked by excitability, irritability, misbehavior and emotional extremes, occurring mainly in women; 2. A burst of hilarity Director Tanya Wexler’s new film Hysteria looks and feels like the classic, sumptuous Victorian period piece we’ve all come to know and love, but the heart of the film is an irreverent, hilarious and surprisingly modern story. “We knew that we’d have to find a unique tone,” says Wexler, “because while it might be a 19th century story, it’s a subject that still makes us blush in 2011. The fun was in creating a kind of lush, Merchant Ivory reality on the surface, but with a hilarious, unbridled comedy running underneath it.” Set in the 1880s, just as a flurry of newfangled gadgets and inventions was forging the world as we now know it, the film follows the historic creation of the best-selling domestic appliance that dared not announce its true purpose: the electrical vibrator. What emerges is more than a playful comic romp. Hysteria is a feisty love story and a trip into hidden history, an exploration of women’s passions and a celebration of the forward-thinking spirit that has always kept human progress buzzing. With a cast led by Academy Award® nominee Maggie Gyllenhaal (Crazy Heart) and leading man Hugh Dancy (My Idiot Brother), the film’s Victorian past resonates with questions that still preoccupy us today – about sexual attitudes, men and women, and how to lead a truly satisfying life.

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Hugh Dancy as Mortimer Granville To play Mortimer Granville the filmmakers of Hysteria went in search of the quintessential British leading man – someone who could pull off a smart, sophisticated 19th Century doctor who matches wits with a vexingly attractive woman who scoffs at his work; they needed an actor who could keep a stiff upper lip even while inventing the vibrator. They found all that and more in rising British star Hugh Dancy. Dancy starred on Broadway in Venus in Fur and recently starred in the critically acclaimed film Martha Marcy May Marlene. He has also garnered acclaim for his performances as the autistic title character in Adam and the Earl of Essex in the Emmy® –nominated television series, Elizabeth I. Producer Judy Cairo comments: “Hugh, like Mortimer, is very intelligent and a very good soul, but he’s also got a mischievous side and can be quite funny. I think he is one of today’s most underutilized, brilliant young actors and he made the perfect sparring partner for Maggie with that 1940s kind of spark. I couldn’t imagine finding a better Mortimer.” Dancy recalls being surprised almost immediately upon cracking open the screenplay. “I loved the mix of tones: there are farcical scenes, there’s a real romance running through it, and there are some wonderful and serious ideas at work. At the same time, there’s always something quite lively, contemporary and fun about it.” Perhaps most fun for Dancy was moving back and


forth between the two divergent Dalrymple sisters. “He’s quite in over his head,” he laughs. “On the one hand, Charlotte’s sister, Emily, is everything he’s signed up for – she’s pretty, demure, does everything her father asks, even if she plays the piano badly, and is a phrenologist. Charlotte, on the other hand, horrifies him straight away. She’s a threat to everything he thinks he wants, and a constant annoyance, but of course he can’t get her off his mind.” Maggie Gyllenhaal as Charlotte Dalrymple To play Hysteria's defiantly non-hysterical heroine, Charlotte the filmmakers chose an actress who has the verve and intelligence to match the very feisty character: Maggie Gyllenhaal, long a favorite of indie filmgoers and a recent Academy Award® nominee for her Crazy Heart star turn.

funny every time I talk about the movie,” she confesses. “It just goes to show that we still don’t really know how to speak openly about women’s sexuality. I think this movie will get people talking a bit more, though, because it takes such a fun and humorous approach.” Hysteria in select theatres this May.

Click here to watch the official movie trailer.

“For Charlotte, we thought: who do women love to see on the screen? Maggie was at the top of that list,” notes Wexler. “Luckily, Judy Cairo had just worked with her and was able to get the script to her, and she loved it. Once she took the role, it was as if it had been written just for her.” The script turned Gyllenhaal’s head on first read. “It was air-tight and really smart,” she says. “It’s a romantic comedy full of love and lightness, but it’s also about a lot of important things like women’s sexuality and doing good for others. Most romantic comedies don’t have these other qualities, which is what drew me so strongly. I also love that the fire of the movie comes from the woman. Charlotte is such a great character, a true grown-up who is helping women to see all the power they have, and who believes women deserve to lead lives of pleasure and significance.” If Charlotte inspired her, the sexual undercurrent of Hysteria made her blush – but Gyllenhaal says that’s part of the point. “I get a little flushed and

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directed by Nadine Labaki

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et in a remote village where the church and the mosque stand side by side, Where Do We Go Now? follows the antics of the town’s women to keep their blowhard men from starting a religious war. Women heartsick over sons, husbands and fathers lost to previous flare-ups unite to distract their men with clever ruses, from faking a miracle to hiring a troop of Ukrainian strippers.

Interview With Director Nadine Labaki

I found out that I was expecting a baby on May 7, 2008. On that day, Beirut once again slipped into war mode, with road blocks, the airport closed, fires and so on. Violence broke out all around. I was working at the time with Jihad Hojeily, my co-writer and friend, and we were thinking about my next film. In the city there was full-blown street-to-street fighting. People who had lived for years in the same building, who’d grown up together and attended the same schools, were suddenly fighting each other because they didn’t belong to the same religious community.

NADINE LABAKI: The story takes place in an isolated mountain village, where Muslim and Christian women join forces, employ various ruses and make certain sacrifices to stop their menfolk from killing one another.

And I said to myself, if I had a son, what would I do to prevent him from picking up a gun and going out into the street? How far would I go to stop my child from going to see what’s happening outside and thinking he had to defend his building, his family or his beliefs? The idea for the film grew out of that.

FG: Put like that, it sounds like a serious drama, when in fact there are lots of funny moments.

FG: As in your first film, Caramel, you both act and direct. Is that complicated?

NL: Using irony to deal with life’s misfortunes is a survival strategy, a way of finding the strength to bounce back. In any case, for me it’s a necessity. I wanted the film to be as much comedy as drama, so it would inspire as much laughter as emotion.

NL: The film overall was complicated, not being actress and director at the same time. The main character being the village itself, we had to handle around 100 people all at once, most of whom were not professional actors.

FG: We understand that the country where this war is unfolding is Lebanon, but the name isn’t specifically mentioned. Why’s that?

FG: So you prefer to use non-professional actors?

FILM GUIDE: So, tell us about the setting of your film?

NL: For me, this war between two faiths is a universal theme. It could just as easily be happening between Sunnis and Shiites, between black and white, between two parties, two clans, two brothers, two families or two villages. It’s an embodiment of any civil war in which people in the same country kill each other, when they are neighbors and even friends. FG: Were you inspired by a true story? NL: Not at all. The basis for the film is very personal.

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NL: I like playing with reality, putting real people in real situations and letting them create their own reality. I like experimenting with using their mannerisms, their voices, their way of being. The casting process was intensive. For weeks, a dozen people scoured the streets. But I also chose several professional actors like, for example, the village mayor. His wife in the film is in real life the wife of a man from one of the villages where we shot. During location scouting, she came up just to say “Welcome to our village” and I persuaded her to take a role. She’s fantastic!


FG: Did you use only natural sets?

Yet it is those people who could speak it the best.

NL: We filmed in three different villages: Taybeh, Douma and Mechmech. The first, located in the Beqaa valley, is really a Christian and Muslim village in which the mosque is next to the church, just like in the narrative. For the sets, again I wanted to stick as close to reality as possible. Together with set designer Cynthia Zahar, we worked a lot on the materials; the texture of the walls, wood, fabrics. You had to feel the passage of time, the poverty, the isolation. The village in the film has endured war, and found itself cut off from the outside world, with neither television nor telephone, connected to the rest of the country by a bridge dotted with landmines and shattered by shelling.

FG: Is that why your film is made in Arabic?

FG: Between Caramel and Where Do We Go Now?, has Lebanese society changed?

FG: Tell us about the title of the film?

NL: The importance of community and family are such that even if we’d like to think that people are more emancipated and free in the Arab world, there’s still this sort of fear of “what are they going to think?” The specter of what people are going to say. In Lebanon, the facades of the buildings are often very beautiful with balconies brimming with pretty flowers. But on the other side, the rear courtyard, it’s a garbage dump. The same goes for the people: They pretend to be free and that everything is fine, but in fact there are many taboos that have yet to be challenged. The reason for this is that we haven’t yet found our own identity. You can see it, for example, in our language. A whole section of our society, educated and cultivated people, no longer speaks Arabic but English or French.

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NL: Of course. It’s very tempting to go and make films abroad, and I had some offers to do this. But I turned them down. I’m afraid I wouldn’t be so authentic in a culture other than my own. What’s more, I want to bring life back to this old language which, when it is well spoken, is very beautiful. I’m grateful to my producer Anne-Dominique Toussaint for not having imposed anything on me in this sense. She’s very instinctive and respects what the director wants to say and why they want to say it, without ever trying to exert any pressure, whether commercial or artistic. NL: It comes from the last line in the film. Just when you think they have achieved something, resolved a situation and found a solution, suddenly it all seems to fall apart again. The women in the village came up with the ultimate stratagem to make the men understand that war is absurd. They succeeded, but what’s going to happen next? “Where do we go now?” I don’t have the answer to that. Where Do We Go Now? in select theatres this May. Click here to watch the official movie trailer.

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brings to the screen a portrait of a woman who risked almost everything for what she believed.

Interview with director Luc Besson: FILM GUIDE: How did you get involved in The Lady?

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he Lady is the extraordinary story of Aung San Suu Kyi and her husband Michael Aris. It is the epic story of the peaceful quest of the woman who is at the core of Burma’s democracy movement. Despite distance, long separations and a dangerously hostile regime, their love endures until the very end. An incredible story of devotion and sacrifice set against a backdrop of political turmoil that continues today, The Lady

LUC BESSON: One day Michelle Yeoh came to see me for help. She told me she had a compelling screenplay about Aung San Suu Kyi and was looking for a producer, and that it would be great if I were free to direct it.  At first I told her I wasn’t available. But then I read the script and I was blown away! I was very moved by the story of this woman about whom I realized I knew almost nothing except for the tip of the iceberg I’d read in the papers. I immediately got back to Michelle to say I wanted to support the project and that if she hadn’t found a director, I was a candidate. She was delighted.

FG: Since you weren’t able to meet Aung San Suu Kyi in person, what liberties did you take with her character?  LB: It’s always frustrating to tell the story of a living figure when you can’t meet him or her. There’s a fear of betraying the truth or, on the contrary, leaning too heavily upon it. Especially when no one is able to guide you. We delved into three or four books about her which helped us better grasp her incredible destiny. Aung San Suu Kyi’s story and destiny can be traced back to her father, General Aung San. He was the great instigator of the Burmese revolution that liberated the country in the 1940s. But he and his ministers were assassinated when she was only three. When Suu Kyi took up the flame of the revolution some 30 years later, she immediately benefitted from her father’s aura.

directed by Luc Besson

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Like the protagonist in Sophie’s Choice, who had to choose between her two children during the war, Suu Kyi had to choose between her country and her family. 

Click here to watch the official movie trailer.

FG: Did you know from the get-go that Michelle Yeoh would embody Aung San Suu Kyi so powerfully? LB: Even before the shoot, when we saw just how absorbed Michelle was by the character, we knew she’d give an exceptional performance. She was possessed by the role. Aside from Mulan, there are not many other major roles outside Aung San Suu Kyi for an Asian actress. Not only is Michelle roughly the same age as Suu Kyi, she looks just like her! When she arrived on stage in the morning, silence fell as the two hundred Burmese around her wondered whether it was Aung San Suu Kyi or not.

“She is a hero of mine and a source of inspiration.” — Barack Obama

“In physical stature she is petite and elegant, but in moral stature she is a giant. Big men are scared of her. Armed to the teeth and they still run scared.” — Desmond Tutu

“She’s my hero.” — Bono

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in written & directed by Whit Stillman

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hree beautiful girls set out to revolutionize life at a grungy East Coast college – the

dynamic leader Violet Wister (Greta Gerwig), principled Rose (Megalyn Echikunwoke) and sexy Heather (Carrie MacLemore). They welcome transfer student Lily (Analeigh Tipton) into their group that seeks to help severely depressed students with a program of good hygiene and musical dance numbers. The girls become romantically entangled with a series of men, including slick Charlie (Adam Brody), dreamboat Xavier (Hugo Becker) and the mad frat pack of Frank (Ryan Metcalf) and Thor (Billy Magnussen)  who threaten the girls’ friendship and sanity.

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The Damsels and Their Distress:– Cast Of Characters VIOLET WISTER, played by Greta Gerwig, is the indomitable group leader though later shown somewhat dominated whose central project is looking for troubled souls to rescue. “Violet has the element of the child who goes around looking for hurt birds,” says Stillman. “Her group is a self-designated animal rescue league looking for ‘hurt birds’ they can assist. Unfortunately they sometimes misidentify a bird that isn’t hurt; sometimes the hurt bird strikes back.” Says Gerwig: “Violet has such strange convictions, but she stands behind them so firmly and tries to get everybody else to see them too. The more people make fun of her and tell her she’s crazy, the more it steels her to the task of improving the world and helping people improve themselves. While she’s convinced that she’s right about certain things, she’s also pathologically open to being wrong. She’s a glutton for punishment, which I think is very funny – she almost seeks disapproval so that she can improve herself.” Violet also later turns out to be quite different than she initially presents herself to be.


“Coeducation had swept American university campuses in the very late 1960s and more particularly the early 1970s. But years and decades later some colleges with distinctly male identities still lacked an atmosphere entirely comfortable for women. Our idea was that “Seven Oaks University” would be such a school, a formerly male bastion where decades after coeducation an atmosphere of male barbarism still prevails.” — Writer/Director, Whit Stillman LILY, played by Analeigh Tipton, is a new transfer student to Seven Oaks, whom the Violet group immediately seeks to rescue from “failure and sadness.” “Lily is a normal, middleof-America girl. She doesn’t know a lot of things and she’s suddenly pulled into this very elaborate world by Violet, Rose and Heather,” says Tipton. “She’s a little hesitant; she finds it a bit weird, but she decides to ride that vibe for awhile.” While Lily generally displays all signs of being a sophisticated young woman, there are occasional moments where we catch sight of her provincial background. She grew up in the kind of house where the only vegetables came in cans and a “dry” town where one had to drive far to buy alcohol legally. She allows herself to fall under the influence of a handsome man but holds to her own conformist views against Violet’s extravagant ones. ROSE, played by Megalyn Echikunwoke is Violet’s closest collaborator and the two have a long back-story. While Violet is sometimes painfully open to other people’s criticism, Rose is more judgemental. “Rose is the opinionated voice of reason in the group,” says Echikunwoke. “She tends to be practical, but she’s got some pretty strong ideas about certain things, especially college life. She presents herself as a bit of a snob, though much of this is almost certainly a comic pose.” “The Rose character is based on the Anglo-Colonial Caribbean women I’ve known who greatly impressed me with their strong personalities and oblique humor,” Stillman says. None of this was in the character description when Megalyn came in to read for the part, but during the audition Stillman asked if she could try it with an accent. Megalyn had just been visiting a Nigerian-British friend who had a snob British accent. “The British version immediately clicked with the character,” Stillman said. “Though Megalyn did a brilliant job with the accent, we always wanted to use its fraudulent conception in some way.” Occupied with pre-production and then the

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shoot, Stillman didn’t write the Rose back-story scene until the morning before the shoot’s final day, but it ended up a signature moment in the film. HEATHER, played by Carrie MacLemore, is the third wheel in Violet’s group. Petite and sweet, she has developed unique theories regarding the relationship between physical characteristics and human behavior. “Heather is not tremendously smart but has a lot of candid opinions and is not afraid to turn those opinions against herself,” says Stillman. While conceding that Heather’s ideas are odd, MacLemore doesn’t believe that Heather considers herself to be unintelligent. “I play her as the brightest person ever,” she says. “Heather is always explaining really basic things to people, and I think that if you’re always doing that, you must actually think you’re smarter than everyone else.” CHARLIE, played by Adam Brody, is the suave young businessman who attracts the attentions of two of the women in the group. “Charlie is a man of strong ideals and opinions,” says Brody. “He’s extremely nostalgic for a bygone era of art and manners and civility in expression, of being chivalrous. He’s a really good guy, and yet at the same time he thinks that making it up and lying are different things, as long as his intentions are good.” Says Stillman: “Charlie is a person with the gift of gab who has considerable imagination without much outlet for it at Seven Oaks. His creativity goes into developing an alternate identity that strangely complements Violet’s similar tendency. Like everyone else though he is initially, and for a long time, attracted to Lily who is a bit of a tabula rasa on which expectations can be projected. But Lily has her own nature that’s not a blank.” Damsels in Distress in select theatres this April. Click here to watch the official movie trailer.

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directed by Wes Anderson et on an island off the coast of New England in the summer of 1965, Moonrise Kingdom tells the story of two 12-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing offshore – and the peaceful island community is turned upside down in every which way. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout Troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The film also includes Tilda Swinton, Jason Schwartzman and Bob Balaban, and introduces Jared Gilman and Kara Hayward as the boy and girl. It could have been a risky proposition for a film director to cast in key roles two newcomers with little or no experience. But, as Moonrise Kingdom producer Jeremy Dawson notes, “Wes Anderson trusts his instincts, so it came down to who he felt he could visualize in these two roles – and once again, he’s hit it out of the park in terms of the casting.”

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Youngsters Jared Gilman and Kara Hayward won Anderson over at different junctures of what was an extensive casting process. Hayward says, “I love my character. Suzy Bishop is misunderstood at home. She is among three little brothers, a father with issues and a mother who is having an affair. She’s very sensitive yet also a tough girl.” Gilman saw his character of Sam Shakusky as “a good kid with amazing scouting skills; he’s earned all these badges. But he’s mistreated by his foster brothers (Sam is an orphan) and by the other Khaki Scouts. He meets Suzy at a church pageant, and, over a year, they create a plan to run away together.” The young stars would also rehearse together in the production office before going to the set. But preparation entailed much more than merely learning their lines: Anderson wanted them to explore their characters, to feel comfortable in their skins, and to understand who they were and why Suzy and Sam do what they do.


Once production began, Gilman found the most difficult part to be “the early mornings,” while Hayward was “shocked” to discover that films are typically shot out of sequence. On a weekend day off, Anderson would invite the pair to see edited dailies and would discuss screen chemistry with them. However, Gilman notes, “Wes had us rehearse scenes, but not the kissing one. He wanted that to feel natural since it’s the first time kissing for Sam and Suzy.”

“As a writer, a producer, and the director, Wes is involved in every element of the film, from clothing design to casting,” adds Dawson. “All of it contributes to the world that he wants to create. He is always trying to evolve as a director, trying new things and learning from his experiences on previous movies.” Even when calling for multiple takes to get a scene exactly the way he’s envisioned it, Anderson remains calm and won’t press to “make the day.” This would serve him particularly well on Moonrise Kingdom since key members of the cast and most of the extras were children.

Another discovery came when Frances McDormand, who portrays Suzy’s mother Mrs. Bishop, pointed out to Hayward “Wes deals with children so well – in much the same way the typewriter in her character’s office. Hayward had never that Steven Spielberg does. He’s encouraging to them,” seen one before “in real life” and said so. “Fran thought that observes Balaban. was so funny,” Hayward laughs. “She showed me how it worked, Anderson was able to relate to “What’s universal and relatable about typing out our names. The props the youngsters in part because helped me feel like I was in Moonrise Kingdom is that this his films combine a grown-up the 1960s.” is a story about first seriousness with pure make-believe. Moonrise Kingdom directly McDormand made a strong love and a magical summer.” accesses children’s worlds of impression on the younger secrets and the convergence of actress. Hayward reflects, “Fran is magical moments one associates with youthful summers. amazing. My favorite scene is probably the one where Suzy is in the bathtub and talking with her mother. It’s very tender and “What’s universal and relatable about Moonrise Kingdom loving and emotional; it shows how Suzy is feeling. is that this is a story about first love and a magical summer,” comments Dawson. “It’s about a young boy and girl who run “Seeing Fran become a different person, and me having to do away to be together. There is a sweetness and charm to this the same, was awesome. I loved being able to be so different movie, and it’s also funny.” from who I normally am.” Gilman was also taken under the wing of accomplished costars. Bruce Willis encouraged him to review and run lines before shooting, even if the words were already committed to memory. Additionally, reveals Gilman, “Bill Murray overheard me tell one of the costumers that I didn’t know how to tie a tie, so he called me over. He basically put his hands around mine and did it and then had me try it. That’s how I learned to tie a tie.” Hayward confides, “Bill also told Jared and me to hum in the morning to get our voices ready for filming. It really works!” Another cast member had to get his voice ready even when no other actors did: Bob Balaban is both heard and seen as the narrator in Moonrise Kingdom. The veteran actor and filmmaker was struck by how “Wes makes movies according to his own particular sensibilities. His is not just a talented mind; it is an organized and kind one. He makes movies like nobody else, and he’s not trying to do it to be different; he’s doing it because that’s who he is.”

Aside from Bill Murray and Jason Schwartzman, the majority of the cast, including Bruce Willis and Edward Norton, had not worked with the director before. Dawson opines, “It’s a different look and feel for both Bruce and Ed in this movie, and I think people are going to respond to them.” Whether learning about typewriters or ties, the two young newcomers realized that their first moviemaking experience was something special. “Moonrise Kingdom is such a sweet story,” says Hayward. “It’s beautiful. I love everything about the movie – how the story is told, the relationship between the characters – and I hope audiences love everything about it too.” Gilman enthuses, “It’s got action. It’s got comedy. It’s got drama. It’s got romance. It really packs a punch!” Moonrise Kingdom in select theatres beginning May 25.

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SEEKING A FRIEND FOR THE END OF THE WORLD written and directed by Lorene Scafaria

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et in a too-near future, Seeking a Friend for the End of the World explores what people will do when humanity’s last days are at hand. As the respective journeys of Dodge (Golden Globe® Award winner Steve Carell) and Penny (Academy Award® nominee Keira Knightley) converge, their outlooks – if not the world’s – brighten.

With complete faith in Lorene Scafaria’s script for Seeking a Friend for the End of the World and her ability to realize it as director, producer Mark Roybal notes, “The first thing that we asked Lorene about was the casting. She told us that she didn’t want to veer too much toward broad comedy and that the actors had to be able to balance humor and drama.” Producer Joy Gorman Wettels adds, “The lead role of Dodge is that of a man who thought he made all the right choices. But the world is now coming to an end and he realizes that he regrets his entire life. An insurance salesman by trade, he hasn’t taken risks in his existence. He thinks of his long-ago love and is moved to act on that yearning.” “In order for this to play believably on screen, Dodge has to be someone that you can see yourself in, or your dad, your brother, your husband. Steve Carell engenders so much goodwill and conveys such warmth; he is an everyman. People relate to him; he was the perfect choice for Dodge.” Scafaria compares Carell to “actors who could do comedy with pitch-perfect timing but also be subtle and still, like Peter Sellers or Jack Lemmon. Steve can do so much with a look; we were ridiculously lucky to have him. When making a movie, he is a collaborative, generous, kindhearted gentleman.” For the role of the more free-spirited Penny, Keira Knightley was sought out. Roybal notes that “there’s a depth Keira brings to Penny even when she’s flighty. There’s a light in

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her eyes as well as an inner light, which is what’s at the heart of Penny; she’s the soul of the movie. Her and Dodge’s growing connection encapsulates what this story is all about.” “I knew she’d be amazing and stunning and super smart,” says Scafaria. “But here’s the surprise, she is so damn funny. So there’s this refreshing blend of Keira, known as a dramatic actress, being more of a comedienne and Steve, known as a comedic actor, doing a more dramatic role.” “Steve and Keira play off each other so well and have such great chemistry. Getting to hear my words said by these two actors? I couldn’t have asked for more.” Carell’s real-life wife, actress Nancy Carell, makes a very brief but memorable appearance opposite him early on in the picture as Dodge’s wife Linda who abandons him upon hearing a major news report; namely, Earth has less than one month left because the attempt to obliterate the 70-mile-wide asteroid (“Matilda”) has failed. As Scafaria remembers it, “Since she was so right for the part, I suggested to Steve’s agent: would his wife be interested in playing his wife? I was secretly a little worried, but Nancy saw the humor in it.” “The scene was shot on their actual anniversary, which was both very appropriate and very inappropriate.” A key sequence further dramatizing people coping – or not – with the world ending soon follows with the dinner party hosted by Dodge’s closest friends, Warren (Rob Corddry) and


Diane (Connie Britton). Scafaria wrote the set piece as one “which would normally put Dodge in a safe place, but it’s not quite as safe anymore. There are couples, and individuals, acting out. Some debauched behavior ensues, which is not what Dodge is looking for even at this penultimate time.” Dodge’s journey is jump-started after he and his barely acquainted neighbor Penny are set on their course by a fullblown riot. “I’ve always found the mob mentality to be so strange,” says Scafaria. “I don’t know how people get so caught up in it and lose sight of the fact that they’re human beings and not animals. But if the world were ending, I do think some people would get violent.” “So, in the story, people are rioting but it’s like for what? Against what? For what possible result? I wanted it to feel not only scary but also ridiculous.” Roybal sees the sequence as “crucial, because Dodge and Penny reach their decisions to trust each other.” “Our amazing crew got the scene done, with stunt work and pyrotechnics and vermin, as how I had envisioned it,” enthuses Scafaria. “Which was, basically, as a mini-version of a sequence I admired in Children of Men.” “I also had fun filming our Friendsy’s [restaurant] scenes, where things get chaotic for Dodge and Penny. Our Friendsy’s extras should win MVP awards.” Gillian Jacobs (Community ) and T.J. Miller (Cloverfield ) play opposite the leads in the Friendsy’s scenes, while Patton Oswalt

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(Young Adult) goes one-on-one with Steve Carell in the dinner party sequence. Scafaria notes, “Every few days, we’d have new ‘special guest stars’! It was a wonderful group of actors.” Many of these performers had adjusted their schedules so that they could be part of a highly original story. Roybal remarks, “Lorene is a confident filmmaker with a distinct voice. She inspires everyone to work at a high level.” Production got under way in mid-May 2011, ironically, shooting on the very day, May 21, when some predicted the Rapture would take place. “We were all curious that whole day,” admits Scafaria. “We stopped in our tracks around 9:00 p.m. because someone did the math and said that was ‘the time.’ Everyone stood there and nothing happened, so we went on to the next shot.” Producer Steve Golin muses, “It was a good omen. Our movie will be released in 2012, not long before the Mayan calendar runs out and the world is supposedly ending, so we have another ‘stop date’ to, well, look forward to.” Seeking a Friend for the End of the World  in theatres June 22.

Click here to watch the official movie trailer.

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directed by Lawrence Kasdan

O

n the side of a busy freeway, a woman finds the love, devotion, commitment and courage she needs – all wrapped up in a bloodied stray dog who becomes her “darling companion.” When the beloved canine goes missing, a shaggy-dog search adventure plays out, drawing together friends and family and rekindling a lifelong love. Beth (Diane Keaton) and Joseph Winter (Kevin Kline) are a long-married couple living comfortably in the Denver suburbs. Joseph, a successful, busy surgeon, is regarded by his wife as pompous and self-involved, while Beth, an empty-nester now that their daughters are grown, is considered highstrung and overly-emotional by her husband. While they’re sometimes testy with each other, they’re united in pride and pleasure in their family. One wintry day, driving with daughter Grace (Elisabeth Moss), Beth spots something on the side of the freeway and insists they pull over. Nestled in the roadside shrubbery is a dog – frightened, banged-up, but clear-eyed and responsive. With uncharacteristic boldness, the women coax and carry the injured stray to their car and take him to a vet. Not only is the dog saved, but he brings good fortune in the bargain: the handsome young vet, Sam (Jay Ali) locks

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eyes with Grace and a romantic spark is kindled. Before long the dog, aptly named Freeway, is a beloved family member. A year passes and Grace and Sam are engaged to marry. The festive wedding is held at the family’s lodge-style country cabin in the High Rockies. Once newlyweds and guests depart, Joseph and Beth are left to relax with a few stragglers: Joseph’s sister Penny (Dianne Wiest) and her new beau Russell (Richard Jenkins); Penny’s son Bryan (Mark Duplass), who is also a surgeon in medical practice with his uncle Joseph; and the cabin’s caretaker Carmen (Ayelet Zurer), whose exotic beauty and accent lend her an alluring air of mystery. Beth and Joseph are unimpressed with the artlessly friendly Russell, worrying that Penny is being seduced by an opportunistic loser. Bryan, equally wary of Russell, becomes distracted by the lovely Carmen. This cozy house party is thrown into crisis mode when Freeway, out for a woodland ramble with Joseph, bounds away after a deer. Joseph is relatively nonchalant about Freeway’s disappearance – he’s a dog, he’ll find his way home – but Beth immediately launches a full-scale, all-hands search party that keeps up far into the night. The whole town goes on alert via radio announcements and reward flyers; they even


summon the local Sheriff (Sam Shepard) on his day off. A second day goes by with no sign of Freeway. Beth is devastated, furious at Joseph, and inconsolable with worry that Freeway has perished. But Carmen assures them that Freeway lives, confiding that she has a gift for finding things, passed down from her mother’s Roma forebears. With a reallife Gypsy psychic in their midst, the search party is re-energized, putting skepticism aside to follow Carmen’s “third eye” and its vexingly vague insights – something about a yellow house, or maybe a blue house, or maybe a red-haired woman. As Penny pairs off with Carmen on the search and Bryan pairs off with Russell, bonds of friendship strengthen among them. But Freeway remains lost and Beth and Joseph get lost too; hours hiking and bickering along rugged mountain trails turn dark, stormy and treacherous. When Joseph tumbles down a steep hillside and dislocates his shoulder, Beth rescues him and their misadventure draws them closer. Even as they give up hope of ever seeing Freeway again, they rediscover their enduring love and commitment.

A Note From Director Lawrence Kasdan

Anyone who’s ever had a dog knows they live in the moment. That fact of their behavior can have a revivifying effect on the people around them. While humans worry about the future and mull over the past, dogs bring us back to the present with the uncomplicated joy they take in the here and now – getting outside with us for a walk, having their meal, being stroked. The movie probably began the day my wife Meg and I rescued a mutt named Mac from a cacophonous dog shelter in Los Angeles. After taking that dog into our lives and affections, he was lost during an outing in the Rockies. We spent three weeks searching, calling his name up and down mountain trails, enlisting our friends and family. The whole town was on the lookout. Just at the moment we had given up hope, a stranger who had seen our flyers found Mac playing with her dogs by the river. Mac was dirty and thin, but uninjured. Friends and searchers around town and across the country celebrated his recovery. The characters in Darling Companion are fictional, but the sense of how our affection for these animals can bring people together is very true to this production. This is my eleventh film, but my first independent production. The incredible cast and crew who agreed to work with us – for scale – signed on because they responded strongly to the story. The production brought together old friends we’ve worked with for many years, like Kevin Kline, our longtime editor Carol Littleton, our composer James Newton Howard and costume designer Molly Maginnis. We were able to attract people whose work we’ve admired forever, like Diane Keaton, Dianne Wiest, Richard Jenkins and Sam Shepard, and people just now taking off in the film business, like director of photography Michael McDonough and production designer Dina Goldman.

Darling Companion is a comedy about many varieties of companionship. At the center of the movie is a marriage that has gone on for a long time and become frayed. Surrounding that union are young people falling in love, a brand-new marriage and the surprise of mid-life romance. The film is also about the connection that sometimes happens between a human being and a pet – the love, friendship and solace that can pass between species.

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We converged in Utah to shoot our movie with a limited budget and a tight schedule, helped along by some very remarkable dogs and their equally remarkable trainers. Darling Companion became one of the most gratifying filmmaking experiences I’ve ever had.

-- Lawrence Kasdan Darling Companion in select theatres this April.

Click here to watch the official movie trailer.

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Farewell My Queen

directed by Benoit Jacquot

1789

On the eve of the French Revolution, those living at the Court of Versailles continue to lead carefree, uninhibited lives, far from the growing unrest in Paris. When news of the assault on the Bastille reaches the court’s ears, the nobles flee along with their servants, deserting the palace. But Sidonie Laborde, a young reader of the Court who is devoted to the Queen, refuses to believe the rumours. She is certain that under Marie-Antoinette’s protection she will come to no harm. Little does she know that these will be the last three days she will spend at her queen’s side.

film. I wanted the viewer to feel exactly what she experiences as the events unfold. I also wanted the spectator to be totally immersed in life at Versailles on her level. To have the same doubts and intimacies. Sidonie is so close to events that she is not able to understand everything that is happening around her. By definition when you are living in the present moment, you do not have a perspective on what you are experiencing. Sharing her understanding of events with the spectator was a way to make the film as vibrant as possible and avoid the need for any retrospection. FG: Lea Seydoux is exceptional in this part. She is both very physical and very modern. BJ: Lea lives in jeans. I wanted her to wear the dresses of the period, that were very complex to put on, in the same casual way she would wear a pair of jeans. Yet I did want her to be aware of the constraints of these dresses. I wanted her to understand 18th Century costuming and to live with it. Yes, she is amazing.

Interview with director Benoit Jacquot:

FG: Diane Kruger is also very remarkable as Marie-Antoinette.

FILM GUIDE: The film tells of the fall of the monarchy in the period between the 14th of July, the day of the storming of the Bastille, and the 16th, when Louis XVI, under public pressure, was forced to sack Breteuil. The entire story is told through the eyes of a young girl, Sidone Laborde (Lea Seydoux), one of the Queen’s readers at Versailles.

BJ: She has the same background as Marie-Antoinette and is exactly the right age for the part. The role of Marie-Antoinette was made for her; she was the obvious choice. As an actress, she is the complete opposite of Lea. Diane is meticulous, focused; deep down she is very Anglo-Saxon, whereas Lea is more animal-like, instinctive, blowing hot and cold. Bringing the two of them together was very exciting.

BENOIT JACQUOT: She sits at the center of the story. She is the constant presence in the

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Farwell My Queen opens in select theatres nationwide this July.


Something terrifying is happening at the Rookwood School

T H e

AwAkening THIS FILM IS NOT YET RATED

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REBECCA

DOMINIC

IMELDA

HALL

WE S T

S TAU N T O N

summer

cohenmedia.net


FILMPreviews

a quick look at upcoming alternative & independent films

AWAKENING

Director: Nick Murphy Set in post-World War I England in 1921, Awakening follows a skeptical woman who travels to a countryside boarding school to investigate rumors of an apparent haunting. Just when she thinks she has debunked the ghost theory, she has a chilling spectral encounter which defies all her rational beliefs.

BADASS

Director: Craig Moss Decorated Vietnam hero Frank Vega returns home only to get shunned by society leaving him without a job or his high school sweetheart. It’s not until forty years later when an incident on a commuter bus (where he protects an elderly black man from a pair of skin heads) makes him a local hero where he’s suddenly celebrated once again. But his good fortune suddenly turns for the worse when his best friend Klondike is murdered and the police aren’t doing anything about it.

BEAST OF THE SOUTHERN WILD Director: Benh Zeitlin

In a forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee, a six-year-old girl exists on the brink of orphanhood. Buoyed by her childish optimism and extraordinary imagination, she believes that the natural world is in balance with the universe until a fierce storm changes her reality. Desperate to repair the structure of her world in order to save her ailing father and sinking home, this tiny hero must learn to survive unstoppable catastrophes of epic proportions.

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FIL M PREVIEWS THE BEST EXOTIC MARIGOLD HOTEL Director: John Madden

The story follows a group of British retirees who decide to “outsource” their retirement to less expensive and seemingly exotic India. Enticed by advertisements for the newly restored Marigold Hotel and bolstered with visions of a life of leisure, they arrive to find the palace a shell of its former self. Though the new environment is less luxurious than imagined, they are forever transformed by their shared experiences, discovering that life and love can begin again when you let go of the past.

THE BULLY PROJECT Director: Lee Hirsch

Directed by Sundance and Emmy®-award winning filmmaker, Lee Hirsch, this beautifully cinematic, character-driven documentary examines the dire consequences of bullying through the testimony of strong and courageous youth. Through the power of their stories, the film aims to be a catalyst for change in the way we deal with bullying as parents, teachers, children and society as a whole. At its heart are those with huge stakes in this issue whose stories each represent a different facet of America’s bullying crisis.

CHIMPANZEE

Directors: Alastair Fothergill & Mark Linfield Disneynature takes moviegoers deep into the forests of Africa with this new true life adventure introducing an adorable baby chimp named Oscar and his entertaining approach to life in a remarkable story of family bonds and individual triumph. Oscar’s playful curiosity and zest for discovery showcase the intelligence and ingenuity of some of the most extraordinary personalities in the animal kingdom. Working together, Oscar’s chimpanzee family navigates the complex territory of the forest. But when Oscar’s family is confronted by a rival band of chimps, he is left to fend for himself until a surprising ally steps in and changes his life forever.

DEEP BLUE SEA

Director: Terence Davies Adapted and directed by Terence Davies, The Deep Blue Sea stars Rachel Weisz as Hester Collyer who leads a privileged life in 1950s London as the beautiful wife of high court judge Sir William Collyer. To the shock of those around her, she walks out on her marriage to move in with young ex-RAF pilot, Freddie Page (Tom Hiddleston), with whom she has fallen passionately in love.

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FIL M PREVIEWS DELICACY

Directors: David Foenkinos & Stephane Foenkinos Audrey Tautou is Nathalie, a beautiful, happy and successful Parisian business executive who finds herself suddenly widowed after a three-year marriage to her soul mate. To cope with her loss, she buries herself and her emotions in her work to the dismay of her friends, family and co-workers. One day, inexplicably, her zest for life and love is rekindled by a most unlikely source, her seemingly unexceptional and average-looking office subordinate, Markus. As their relationship goes from awkward to genuinely loving, Nathalie and Markus will have to overcome a host of obstacles including everyone else’s judgmental perceptions as well as their own self-doubts.

DETENTION

Director: Joseph Kahn An apocalyptic fantasy, horror, science fiction, action-thriller, body swapping, timetraveling teen romantic comedy starring Josh Hutcherson, Dane Cook and Shanley Caswell, Detention follows the local students of Grizzly Lake as they survive their final year of high school. Bringing even more angst to student life, a slasher killer has chosen their high school as his new home of slaughter. It becomes a race against time to stop the killer, which will in turn save the world – if only they can get out of detention.

DIANA VREELAND: THE EYE HAS TO TRAVEL Directors: Lisa Immordino Vreeland, Bent-Jorgen Perlmutt, & Frederic Tcheng

This is an intimate portrait of one of the most influential women of the 20th century, an enduring icon whose influence changed the face of fashion, beauty, art, publishing and culture forever. During Diana Vreeland’s fifty-year reign as the “Empress of Fashion,” she launched Twiggy, advised Jackie O and coined some of fashion’s most eloquent proverbs. She was the fashion editor of Harper’s Bazaar where she worked for 25 years before becoming editor-in-chief of Vogue followed by a remarkable stint at the Met’s Costume Institute where she helped popularize its historical collections.

EASY MONEY

Director: Daniel Espinosa Based on a novel by Swedish author Jens Lapidus, Easy Money follows a taxi driver in Stockholm who gets caught up in a drug-running operation. This threetiered story centers around drugs and organized crime as the young taxi driver becomes a runner for a deadly coke dealer.

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FIL M PREVIEWS ELLES

Director: Malgorzata Szumowska Anne, a well-off Paris-based mother of two and investigative journalist for ELLE magazine, is writing an article about university student prostitution. Her meetings with two fiercely independent young women, Alicja and Charlotte, are profound and unsettling, moving her to question her most intimate convictions about money, family and sex.

HEADHUNTERS

Director: Morten Tyldum Aksel Hennie stars as Roger, a charming scoundrel and Norway’s most accomplished headhunter. Roger is living a life of luxury well beyond his means and stealing art to subsidize his expensive lifestyle. When his beautiful gallery-owner wife introduces him to a former mercenary in the possession of an extremely valuable painting, he decides to risk it all to get his hands on it and, in doing so, discovers something which makes him a hunted man.

I WISH

Director: Hirokazu Koreeda Twelve year old Koichi lives with his mother and retired grandparents in
Kagoshima, in the southern region of Kyushu. His younger brother Ryunosuke lives with their father in Hakata, northern Kyushu. The brothers have been separated by their parents’ divorce and Koichi’s only wish is for his family to be reunited. When he learns that a new bullet train line will soon open, linking the two towns, he starts to believe that a miracle will take place the moment these new trains first pass each other at top speed. With help from the adults around him, Koichi sets out on a journey with a group of friends, each hoping to witness a miracle that will improve their difficult lives.

THE INTOUCHABLES

Directors: Olivier Nakache & Eric Toledano The Intouchables tells the true story of a quadriplegic aristocrat whose world is turned upside down when he hires a young, good-humored ex-con as his caretaker.

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FIL M PREVIEWS JEFF, WHO LIVES AT HOME

Directors: Jay Duplass & Mark Duplass, On his way to the store to buy wood glue, Jeff looks for signs from the universe to determine his path. However, a series of comedic and unexpected events leads him to cross paths with his family in the strangest of locations and circumstances. Jeff just may find the meaning of his life – and, if he’s lucky, pick up the wood glue as well.

THE KID WITH A BIKE

Directors: Luc Dardenne & Jean-Pierre Dardenne This deeply moving new film by the Dardenne brothers delves into the emotional life of troubled 11-year-old Cyril. When his father abandons him, Cyril obsessively tries to find his bicycle – after all, his father must have cared about him enough not to sell that off, he reasons. Almost by accident, he becomes the ward of a kind hairdresser, a woman who seems surprised to find herself so determined to help him. With his wild, unpredictable behavior and his disastrous search for father figures, Cyril risks losing her – though she refuses to give up without a fight.

LAST CALL AT THE OASIS Director: Jessica Yu

Although it covers 70 percent of the earth’s surface, there is a very real possibility that in the near future there won’t be enough water to sustain life on the planet. This documentary illuminates the vital role water plays in our lives, exposes the defects in the current system and shows communities already struggling with its illeffects and individuals championing revolutionary solutions. Firmly establishing the urgency of the global water crisis as the central issue facing our world this century, the film posits that we can manage this problem if we are willing to act now.

MIGHTY FINE

Director: Debbie Goodstein As his family desperately struggles to stay together, Joe Fine, who suffers from bipolar disorder, decides to relocate from Brooklyn’s Pitkin Avenue to the suburbs of New Orleans, hoping for a fresh start. However, it soon becomes clear that a change in environment can’t change Joe and the battle he has with his psyche.

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FIL M PREVIEWS MONSIEUR LAZHAR Director: Philippe Falardeau

Nominated for an Oscar® for Best Foreign Language Film, Monsieur Lazhar tells the poignant story of a Montreal middle school class shaken by the death of their well-liked teacher and trying to heal. Bachir Lazhar, a 55-year-old Algerian immigrant, offers the school his services as a substitute teacher and is quickly hired. As he helps the children heal, he also learns to accept his own painful past. This moving film features exquisite performances and a stunning ensemble of child actors.

MUSICAL CHAIRS

Director: Susan Seidelman Set against the exciting backdrop of competitive ballroom dancing, Musical Chairs is about Armando, a Bronx-bred Latino who aspires to be a dancer but whose only way in is as handyman at a Manhattan dance studio, and Mia, an Upper East Side princess who is the studio’s star performer. Though worlds apart, their shared passion for dance promises to bring them together until a tragic accident changes Mia’s life forever and she finds herself wheelchair-bound at a rehab facility with her dreams of a dance career shattered. Fortunately, Armando has enough dreams for both of them, and when he hears about a wheelchair ballroom dance competition that will soon be held in New York, he sees a way to return something to Mia that she thinks is lost forever.

MY WAY

Director: Kang Je-kyu After emerging as bitter rivals and enemies as young marathon runners, Korean native Kim Jun-shik and Japanese aristocrat Tatsuo Hasegawa both find themselves in the Japanese army, fighting the Chinese and Soviets in a bloody battle. Jun-shik is there under duress, while Tatsuo is a powerful colonel. After both are taken prisoner by the Soviets, their mutual hatred and mistrust boils over into a violence that is stopped only by the continuing horror of the war. Forced to fight for the Soviets, the two eventually rely on each other for survival, making it to Germany where they are in turn separated and forced to fight for the Nazis. They meet again at Normandy Beach, both unlikely survivors, bonded together by history as they struggle to survive one more terrible battle as the Allies arrive on D-Day.

NEIL YOUNG JOURNEYS Director: Jonathan Demme

In May of 2011, Neil Young drove a 1956 Crown Victoria from his idyllic hometown of Omemee, Ontario to downtown Toronto’s iconic Massey Hall where he intimately performed the last two nights of his solo world tour. Along the drive, Young recounted insightful and introspective stories from his youth to filmmaker Jonathan Demme.

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FIL M PREVIEWS OCTOBER BABY

Directors: Jon Erwin & Andrew Erwin As the curtain rises, Hannah hesitantly steps onto the stage for her theatrical debut in college. Yet before her first lines, she collapses. Countless medical tests all point to one underlying factor: Hannah’s difficult birth. This revelation is nothing compared to discovering that she was actually adopted after a failed abortion attempt. Bewildered, angered and confused, Hannah embarks on a journey with Jason, her oldest friend. In the midst of her incredible journey to discover her hidden past and find hope for her unknown future, Hannah sees that life can be so much more than what you have planned.

THE QUEEN OF VERSAILLES Director: Lauren Greenfield

With the epic dimensions of a Shakespearean tragedy, The Queen of Versailles follows billionaires Jackie and David’s rags-to-riches story to uncover the innate virtues and flaws of the American dream. We open on the triumphant construction of the biggest house in America, a sprawling 90,000-square-foot mansion inspired by Versailles. Since a booming time-share business built on the real-estate bubble is financing it, the economic crisis brings progress to a halt and seals the fate of its owners. We witness the impact of this turn of fortune over the next two years in a riveting film fraught with delusion, denial and self-effacing humor.

SOUND OF MY VOICE Director: Zal Batmanglij

Peter and Lorna, a couple and documentary filmmaking team, infiltrate a mysterious group led by an enigmatic young woman named Maggie. Intent on exposing her as a charlatan and freeing the followers from her grip, Peter and Lorna start to question their objective and each other as they unravel the secrets of Maggie’s underworld.

TONIGHT YOU,RE MINE Director: David Mackenzie

Adam and Morello have a big problem. It’s not that Adam is the heartthrob lead singer in a famous electro-pop band or that his girlfriend is a spoiled supermodel. His problem is Morello’s problem. Morello’s problem isn’t that she’s a lead singer in a struggling post-punk riot girl band or that she’s dating a banker. No, her problem is that she has to perform the biggest gig of her life at a music festival while handcuffed to the kind of person she totally despises – Adam. So begins an outthere odd-ball romantic comedy filled with lust, mud, betrayal, booze, portaloos and a hundred thousand people partying to the greatest music in the world.

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FIL M PREVIEWS TURN ME ON, DAMMIT!

Director: Jannicke Systad Jacobson Based on the novel by Olaug Nilssen, this is a whimsical and refreshingly honest coming-of-age story about the blossoming sexuality of a teenage girl. Fifteen yearold Alma is consumed by her out-of-control hormones and fantasies that range from sweetly romantic images of Artur, the boyfriend she yearns for, to downand-dirty daydreams about practically everybody she lays eyes on. The film is a light-hearted take on a story that is told so often about boys and so rarely about teenage girls.

THE WOMAN IN THE FIFTH Director: Pawel Pawlikowski

Based on Douglas Kennedy’s novel, this thriller revolves around an American who has fled to Paris in the wake of a scandal that cost him his job as a film lecturer at a small university. He takes up with a widow who might be involved in a series of murders.

, YOUR SISTER S SISTER Director: Lynn Shelton

Set against the damp foliage of the Pacific Northwest, Humpday star Mark Duplass plays Jack, still reeling from his brother’s death a year earlier. His close friend Iris (Emily Blunt), who also happens to be the ex of Jack’s brother, ships him off to her family’s remote vacation home so he can be alone to get himself back together. Jack unexpectedly finds Iris’ sister Hannah there for similar purposes, and the two quickly get to know each other over an evening of tequila. When Iris arrives unannounced the next morning, it sets off a chain reaction of revelations and shifting dynamics.

View our Film Guide Magazine online by visiting REGmovies.com and clicking Cinema Art.

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CELEBRATING 10 YEARS & AN EXCEPTIONAL 2012 SLATE

MOONRISE KINGDOM

Written by WES ANDERSON & ROMAN COPPOLA Directed by WES ANDERSON

May/June

SEEKING A FRIEND FOR THE END OF THE WORLD Written and Directed by LORENE SCAFARIA

June 22

PARANORMAN Written by CHRIS BUTLER Directed by SAM FELL, CHRIS BUTLER

August 17

FOR A GOOD TIME, CALL...

Written by KATIE ANNE NAYLON & LAUREN ANNE MILLER Directed by JAMIE TRAVIS

September

ANNA KARENINA Screenplay by TOM STOPPARD Based on the novel by LEO TOLSTOY Directed by JOE WRIGHT

Winter

HYDE PARK ON HUDSON

December

Written by RICHARD NELSON Directed by ROGER MICHELL

for more on the extraordinary films from focus features go to focusfeatures.com

atonement • coraline • Pride & PreJudice • Burn after reading • the Kids are all right • hot fuZZ • in Bruges • the motorcycle diaries • 21 grams • the constant gardener • a serious

Beginners • taKing WoodstocK • sin nomBre • far from heaVen • miss PettigreW liVes for a day • one day • the american • BaBies • the deBt • sWimming Pool • greenBerg • talK to me •

eternal sunshine of the sPotless mind • lost in translation • BroKeBacK mountain • the Pianist • shaun of the dead • milK •

man • aWay We go • Pirate radio • Jane eyre • 9 • eastern Promises • BricK • tinKer tailor soldier sPy • hanna • BroKen floWers •

FOCUS FEATURES – REGAL FILM GUIDE FINAL


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REGAL CINEMA ART dedicated to alternative and independent films, first-run foreign productions and restored classics Ithaca Mall Stadium 14, Ithaca

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virginia Ballston Common Stadium 12, Arlington Downtown Mall 6, Charlottesville

Green Valley Ranch Stadium 10, Henderson

Fairfax Towne Center 10, Fairfax

Village Square Stadium 18, Las Vegas

Westhampton Cinema 2, Richmond

Colonnade Stadium 14, Las Vegas

Columbus Stadium 12, Virginia Beach

new mexico

washington

High Ridge Theatre 8, Albuquerque

Sehome 3 Cinemas, Bellingham

Devargas Mall Cinema 6, Santa Fe

Bella Bottega Stadium 11, Redmond

new york

Meridian 16, Seattle

East Hampton Cinema 6, East Hampton

City Center Stadium 12, Vancouver

Farmingdale Stadium 10, Farmingdale

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Regal Cinema Art Film Guide, Summer 2012