Regal Cinema Art Film Guide, Winter 2012

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table of

contents 2

NO

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West of Memphis

6

Rust and Bone

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Impossible

Director: Pablo Larrain

Director: Amy Berg

Director: Jacques Audiard

Director: Juan Antonio Bayona

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Not Fade Away

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Admission

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The Place Beyond the Pines

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Promised Land

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Film Previews

Writer & Director: David Chase

Director: Paul Weitz

Director: Derek Cianfrance

Director: Gus Van Sant

A look at 28 upcoming releases

NO

West of Memphis

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Film Guide Senior Staff Publisher

Jonathan Douglas Creative Director

Rodney Griffin Designer

Rona Moss Corporate Editor

Irene Gillaspy Advertising and Promotions

email: jdouglas@ regalcinemas.com

Rust and Bone

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Not Fade Away

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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directed by P ab l o L ar r a i n

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n 1988, Chilean military dictator Augusto Pinochet, due to international pressure, is forced to call a plebiscite on his presidency. The country will vote YES or NO to Pinochet extending his rule for another eight years. Opposition leaders for the NO persuade a brash young advertising executive, Rene Saavedra, to spearhead their campaign. Against all odds, with scant resources and under scrutiny by the despot’s minions, Saavedra and his team devise an audacious plan to win the election and set Chile free.

BRINGING HISTORY TO LIFE General Augusto Pinochet’s 15-year regime had been characterized by its disregard for human rights, murders, imprisonments, exiles and “desaparecidos,” the ones who just disappeared. So when his most powerful and generous foreign ally, the United States of America applies pressure, he is forced to call a referendum on his presidency.

A coalition of 16 political parties in opposition to the dictatorship approaches a brash, young advertising executive, René Saavedra (Gael García Bernal), to spearhead their campaign. Saavedra is a “closer,” a seducer of clients with his soft voice and good looks. He oozes sincerity in setting up presentations, whether it’s a TV campaign for the latest soft drink or the most important event in the life of his country.

René’s boss, Lucho Guzman (Alfredo Castro), just happens to be a high-ranking member of Pinochet’s advisory board. And René’s estranged wife, Verónica Caravajal (Antónia Zegers), is a radical activist who believes the plebiscite is a fraud and refuses to legitimize the dictator and his bogus referendum by voting. While she belittles her husband’s involvement with the opposition, commonly known

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as “The NO,” René just wants them to get back together and live as a family with their son, Simon.

Reviewing materials already created for the campaign, René is convinced their grim, endless montages of killings, torture, tanks and tear gas will turn off voters.

With the opposition outspending them by an estimated 30 to 1, NO must come up with campaign ads that speak to the heart of the people of Chile and motivate them to go to the polls. The people are frightened, as are the leaders of the NO movement once they realize they are being shadowed and often directly confronted by Pinochet’s secret police, the DINA. “Everyone wants to be happy,” René says in his quiet, convincing way. “Happiness” will be the campaign: “Happiness is coming if you vote NO!” This approach meets resistance from colleagues who see it as an affront to the many who have suffered under Pinochet, but René confidently commissions jingles and celebrities to join in delivering the message: “Chile: happiness is coming!!!”

Director-producer Pablo Larraín explains: “That’s why they won. They didn’t attack Pinochet. They just promised a better and nicer future.”

Not only was Pinochet defeated, 97% of registered voters turned out at the polls. The NO campaign won almost 56% of the vote.

Because NO is based on a very important world event, Pablo remained committed to recreating the look of the period in every aspect. He ended up tracking down a 1983 U-matic video camera to shoot 2012 footage to match that of the 1988 past. Not only did he want to integrate archival news footage in a seamless fashion with the new material, he used many of the TV spots and actual on- and off-screen participants from the campaign 24 years ago. The best example of

this technique is when Larraín cuts from a close-up of the white-haired narrator of the nightly NO newscast (“NO-ticias”) to a wide shot of the studio in which he is seen “live” on a TV monitor. He looks almost the same but his hair isn’t so white. It’s the actual video of the newscaster almost a quarter of a century earlier. For fifteen years he’s been off the air, blacklisted because

and spontaneous. “Pablo wants the camera to be as much a participant in scenes as the actors,” he explains. “Pablo likes his camera to get dirty.”

Pablo sought authenticity wherever he could find it. The infectious songs and jingles are all from the 1988 campaign, as are many of the singers, dancers and actors in the commercials. In a coup of his own, Pablo captured Patricio Aylwin, the NO candidate who succeeded Pinochet, with his U-matic camera and intercut the 2012 restaging of the victory celebration with actual news coverage from the event. “Sometimes I can’t tell the difference myself,” he has to admit.

“Here’s a guy who’s using advertising tools to change the social process,” adds Pablo. “That’s why it’s so original and strange at the same time.”

his politics differed from those of the dictatorship.

Here he is, back in front of his audience for the mandated 27 days of campaigning, thanks to the paid promotional announcements funded by the NO people—a true story.

Juan de Diós Larraín points out that the hand-held camera with its flashes and flares is intentional

“Basically, NO is an epic David and Goliath story—a black comedy with attitude,” adds Pablo’s brother and fellow producer, Juan de Diós Larraín.

Click here to watch the official movie trailer.

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directed by Amy Berg

A

new documentary written and directed

by Academy Award®-nominated filmmaker Amy Berg (Deliver Us from Evil) and produced by first-time filmmakers Damien Echols and Lorri Davis, in collaboration with the multiple Academy Award®-winning team of Peter Jackson and Fran Walsh, West Of Memphis tells the untold story behind an extraordinary and desperate fight to bring the truth to light: a fight to stop the State of Arkansas from killing an innocent man.

Starting with a searing examination of the police investigation into the 1993 murders of three eightyear-old boys, Christopher Byers, Steven Branch and Michael Moore, in the small town of West Memphis, Arkansas, the film goes on to uncover new evidence surrounding the arrest and conviction of the other three victims of this shocking crime, Damien Echols, Jason Baldwin and Jessie Misskelley. All three were teenagers when they became the target of the police investigation. All three went on to lose 18 years of their lives, imprisoned for crimes they did not commit.

How the documentary came to be is in itself a key part of the story of Damien Echols’ fight to save his own life. The film reveals how close he, his wife Lorri Davis, his legal team, friends and supporters all came to losing that battle. But as Echols himself, who spent eighteen years on death row, has stated “... in the face of such horror, in the face of resounding grief and pain, you cannot give up ... you must never give up.”

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Director , s Statement In 2007, I received a phone call from a friend asking if she could give my phone number to Peter Jackson and Fran Walsh because they wanted to discuss a project with me. At the time I didn’t know much about the West Memphis Three. When I learned that the story of this case had become so important to Fran and Peter that they wanted to produce a documentary about the crime and subsequent legal battle, I wondered what could have moved this pair of successful filmmakers who lived eight thousand miles away from Arkansas to be so invested in seeing the West Memphis Three walk free from prison. But after our first conversation— hearing the unwavering commitment in their voices as they spoke about the case and about the 18 years of injustice, an investigation rife with corruption and the destruction of multiple lives—I understood that this was a story that not only exposed a frightening failure of justice within our legal system, but also a judicial culture where innocence did not matter.

Soon after that conversation, I met Lorri Davis, the wife of Damien Echols. Lorri and Damien had been together for 15 years, married for twelve of them, yet had never shared a life together that did not involve prison bars and shackles, a life of having to say goodbye every time they met. We spoke for hours. I heard about the promising developments and outrageous disappointments that they had lived through day after day and year after year. After I met Lorri and Damien in person and experienced firsthand their strength of character, poise and love for each other, I knew I wanted to make this film.

Much of my career has been devoted to the plight of all victims of the judicial system. The families of murder victims and the wrongly incarcerated both suffer from the same corruption that is endemic to the very institutions they look to for guidance and protection. Rarely had I come across a failure of justice with such profound consequences—three young men falsely convicted of crimes for which they were still

imprisoned, six families' lives forever destroyed while the real killer of three eight-year-old boys remained free. A combination of poverty, corruption, political ambition and religious bigotry had collided in this case to create a horrific illustration of how wrong things can go for everyone when we, as a society, fail to do all in our power to discover the truth.

I spent over two years chasing down every lead, every person willing to talk to us, pulling at the tangled threads of the truth to see where it might lead. This film is the end result of that journey. The day after I left Memphis, a friend and prominent figure in the U.S. justice system told me about a phrase that’s been coined to describe how the legal community operates in corrupted judicial systems: “Just Us”… The term encapsulates the idea that rather than an equable court of justice, there are only the authorities who control that system. To me, the phrase eloquently summarizes the long series of omissions and outright manipulations that characterized this case for so many years. But the phrase can also be flipped around. Damien, Jason and Jessie took the power from the state to successfully broadcast the facts of their innocence. They became the “us.” It has been a source of great pride and gratitude to me to be able to share in the process of three young, innocent men, supported by thousands of well-wishers from all over the world, taking the judicial system back. West of Memphis shows how “Just Us” can transform into “All of Us”, all those who refuse to surrender to injustice, regardless of what higher authorities might like us to accept.

— Amy Berg, January 2012 Click here to watch the official movie trailer.

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directed by Jacques Audiard

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ust and Bone stars Marion Cotillard and Matthias Schoenaerts and is based on Craig Davidson’s short story collection of the same name. It tells the story of an unemployed 25-year-old man, Ali, who falls in love with a killer-whale trainer named Stephanie, and how Ali’s bond with Stephanie grows deeper after Stephanie suffers a horrible accident.

Re-Imagining a Love Story Before love in this story, comes incredible pain. And as Ali and Stéphanie bring each other back to life, they navigate a world of violence and scarred

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emotions. Director Jacques Audiard worked closely with his actors to portray the relationship with powerful resonance.

Matthias Schoenaerts (pronounced shuh-nar) plays Ali. “Audiard is constantly looking for the life in the moment itself,” explains Schoenaerts. “He’s not about executing what he wrote, he’s constantly on the lookout for “how can life change what I wrote?” Ali is not always the most sympathetic guy. The audience isn’t going to identify with him straight away. But there’s something about his sincerity, his simplicity, that’s genuinely attractive. We rehearsed and improvised, trying out darker, rougher ways to play Ali. Finally, we struck on an almost childlike streak in Ali which made the character suddenly more real to us, more believable as someone Stéphanie could love. That juvenile energy breathed life into him.

Otherwise he’s this social, selfaware character who knows what a mess he’s in and starts being depressed about it, and we didn’t want that at all. Ali goes from being an emotional zero to surrendering to love. Audiard has a way of making characters so profound and so multilayered. He’s

truly an actor’s director who works with the actors very collaboratively to bring out those shades.”

Marion Cotillard, who stars as Stéphanie, concurs. “I’ve worked with amazing directors,” she says, “but the thing with Jacques is you feel the love that he has for his story and the characters— it’s so strong. It’s very, very inspiring. Audiard is a poet.”

Physical Duress As actors, both Cotillard and Schoenaerts had to inhabit bodies under extreme physical duress. “I researched and I watched videos of amputees,” says Cotillard, “But I got more out of a direction Jacques gave me. He told me, ‘Sometimes part of her refuses the situation so sometimes she will try to stand up and she will forget that she has no legs and she will fall.’ You don’t see that onscreen but it made me feel the part.” Technically, the amputations are achieved by CGI, but to Cotillard, “That’s the least interesting part, though the technical people did amazing work. What matters is the flesh, bones, sexual, violent physicality.”

Schoenaerts trained intensively for his role as a kickboxing combatant, but not to achieve the conventional hero’s ripped physique: “I worked out every day, had to get my weight back up after Bullhead. Jacques had a very specific idea of the physique that Ali should have.

He should be strong but not trained. Here’s a guy who has been boxing for years but then dropped out and started gaining weight. He has a belly. We didn’t want him to look too fit or welltrained. We wanted him to look a little bit unhealthy. He’s a guy who doesn’t have the means to be eating right and training properly and his appearance should make that clear.”

About his character’s bare-fisted fighting, Schoenaerts says: “When you have nothing, what is there left to sell? There’s your body, so he fights. And somehow he needs the pain. The fights are painful but they’re very sensory.

He’s unable to feel his emotional level, but the fights bring it to life. That’s where he feels he has a body. When he hits or gets hit he feels it. There’s something happening. And then Stephanie just breaks his heart open.”

The Princess and The Fighter “I can’t imagine who else could have played Stéphanie, just as I can’t imagine who else could have played Piaf in La Vie en rose,” says Audiard. “There’s a virile authority to her acting, and at the same time she exudes sexuality.

She’s very seductive. There’s another reason: I’m not forgetting that she’s extremely famous, and that fame adds to the fiction.

When her legs are amputated, it’s a cinematic convention.

We know it’s a famous actress playing a role. She’s a princess, a princess who falls from on high.”

Audiard continues: “When I saw Bullhead, I immediately wanted to meet Matthias. We had very little time to prep. Marion focused her work on her handicap and the killer whales, and Mathias on the fights. For her, the arc was difficult but clear. She is someone on the path to recovery. With Mathias, we had to work more on his character. In the script, Ali was coarser. He couldn’t be too dim. He had to attract Stéphanie’s gaze. There had to be a basis for seduction and then love.”

The seemingly positive wrapup—Ali’s boxing triumph with Sam and Stéphanie at his side—is mitigated by the voice-over which

tells of the enduring pain in Ali’s shattered hands. As Schoenaerts sees it, “We just watched a film for one-and-a-half hours where we saw what these two human beings are and what they went through. They’re still going to have to deal with that. It’s not over. They still have pain. They still have to bring up the kid. She still has to deal with her handicap. But they can share it and be a support to one another, so it’s a good ending but I wouldn’t necessarily call it a classical happy ending.”

Audiard wonders, “What would she have become if she hadn’t had that accident? She probably would have remained the somewhat arrogant princess that she was, unable to truly love someone. ‘Thanks’ to her infirmity, and because Ali never looks at her with pity or compassion, she allows herself to let go and experiences something she would otherwise never have known.”

For Cotillard, her character’s loss is a revelation. “When there’s nothing left, it’s just you, your soul, and what’s deep inside of you. Will you be able to face it or will you be too afraid to face it? We see the encounter of two naked souls who surrender to this nudity. That’s the beauty of this story and these people.”

Click here to watch the official movie trailer.

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directed by Juan Antonio Bayona

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n 2004, the day after Christmas, the sea roiled and roared and devoured the western coast of Thailand— the worst natural disaster ever to strike the country.

The deadly tidal waves, crashing onto Thailand’s beach communities in ten-minute intervals, resulted in over 5000 deaths and over 2800 missing souls and created 1480 orphans in just that country alone.

One family, husband and wife Henry and Maria Belon and their sons Lucas, Simon and Thomas, on Christmas holiday in Thailand will become caught in the mayhem of the tsunami. Separated in an instant and seriously injured, they struggle to survive and to reunite in a remarkable true story of perseverance, love and unshakable faith in each other and in the thousands of strangers who exemplify the human spirit.

The Impossible is based on the true story of a family who faced one of the worst disasters in recent history. Their fortitude and overwhelming love for each other in the most horrific of circumstances gripped Director Juan Antonio Bayona.

“We’re not just dealing with a survival story. It also raises the question of who you want to survive for and in what way. There is something very powerful that goes beyond the tragic and speaks of the human condition, something that moves people very deeply when they hear the story,” Bayona says.

Bayona and screenwriter Sergio Sanchez worked directly with the Belon family throughout the filmmaking. “In certain ways, what I experienced

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during the process of making the movie was the same I had during the tsunami. I thought we were not going to make it, but we did and that’s fantastic,” Maria Belon proudly announced.

The opportunity to work with Bayona and Sanchez’s screenplay attracted Ewan McGregor to the project. “I liked the script very much. There was something honest and true about it and a brutal simplicity that made it very vivid. And I liked their last film The Orphanage very much and wanted to work with Bayona,” McGregor says.

The story of the Belon family also resonated with McGregor in a very personal way. “When Henry finally sees his kids in the hospital after his family has been separated by the tsunami—when he finally reunites with his family—that made me cry as I was reading the script. It was such a moving moment. I’ve four children now, and I’ve never really played a parent in a film before. I felt like I wanted to make Henry much more like me. I could play it as a character, but I wanted to explore being a parent against this horrible disaster. I thought the most effective way to do that was to just play him as me,” McGregor says.

Naomi Watts was also touched by the story and spent a lot of time with the real Maria before and during production. “It was incredibly powerful to meet her and talk to her about her experiences.

She was so generous and helpful and right there every time. It all came flooding through her. She is

incredibly strong and courageous,” Watts says.

The Impossible prepped for almost two years and shot for 25 weeks between Spain and Thailand on more than 60 sets. Principal photography took place at the studios of Ciudad de la Alicante, Spain and at multiple locations in Thailand, many of which were where the actual events had occurred. Because the film is about real people who underwent unimaginable horror and devastation, to honor and portray their

experience, Bayona insisted on a rigorous authenticity.

While the movie plays like a horror film in the beginning, the furious ocean as monster, it soon turns into something more, a reallife tale of courage and redemption.

“A movie based on real events is easier and harder in different ways. Easier in that you’ve got the voice of truth as a touchstone but also there’s pressure because these people really went through this.

It was our responsibility to honor it with as much authenticity as possible, to convey as honestly as we could what it felt like at the time,” Watts explains.

McGregor adds that they tried to pay homage not only to their characters but to everyone who endured the tsunami.

“When you tell a true story, you have a responsibility to the people that you’re playing but in this film, more than any other I’ve done, I felt a responsibility to everybody touched by the tsunami—the people who died, those who survived, the Thai people themselves—because so many people were affected by it. If the tsunami were used just as a dramatic backdrop, then I’d be really upset. But that’s not what we’ve been trying to do,” McGregor says.

Bayona insisted on shooting at the real locations where the Belons’ ordeal occurred, employing extras who also had been through the tsunami.

One critical location was The Orchid Resort

where the family had gone for Christmas holiday.

Maria Belon joined the film company at the resort, her first time back since the disaster.

“I found myself not just at The Orchid, but sitting exactly where I was when the wave hit. The sounds of breakfast, the easiness of the tourists, the trust that the hotel is in full working order, a few guests making plans for the day—the situation was exactly the same in the movie version as it was in reality.

It was a beautiful morning on our holiday--then life changed completely in a matter of minutes. I have so many mixed feelings. They call it survivor’s guilt, I think. But in the days I spent at The Orchid through the film I had the chance to interact with some of the local people who survived the tsunami, to talk to them about it. It was such a shocking experience and I thought Bayona did a beautiful job of depicting it and my feelings about it in the film,” Maria says.

Watts empathized with Belon and marveled at her willingness to return to a place that clearly provoked such horrible memories. “For me,” she says, “even landing at the airport in Phuket, knowing that the family was there and what they went through, the vibes, the negative energy was huge. So for Maria to come back with the family and experience it again, it hit them in such unpredictable ways, sort of returning to the scene of the crime. But it was also maybe a way for them to get past it, to feel safe again.”

The Impossible will open in theatres this December.

Click here to watch the official movie trailer.

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, A Fan s Production Liner Notes Not Fade Away, David Chase’s deeply felt love letter to the music of the Sixties, is a film about dreams that come true—and the ones that never do. For Chase, “It’s about anybody who has ever had a dream and about what it takes to actually realize that dream.

Rock & roll is at the heart of the movie because, for some of the characters, rock music is the gateway to transcendence, but it doesn’t end there.”

Traditionally most rock & roll movies have focused on the agony and ecstasy of “making it” on a grand scale, usually with thousands of fans screaming in the background. As a rule we witness some band of brothers’ rise and fall, then their crash and burn, and perhaps the eventual resurrection. As one might expect from a man best known as the creator of the ground-breaking television series The Sopranos, Not Fade Away is not your average rock & roll movie. Instead, this is an intimate, powerful, alternately painful and funny drama about coming of age and the sort of indelible memories, musical and otherwise, that end up making us who we are. writer/director David Chase

A Rock & Roll Story Not Fade Away—which made its world premiere on Saturday, October 6 as the Centerpiece Gala selection for the 50th New York Film Festival—is a kind of widescreen cinematic concept album in which writer and director David Chase vividly and grittily captures an extraordinary time in the mid-sixties when music appeared to be changing our world on a daily basis.

As Chase’s film lovingly and artfully documents, this was a singular era when The Beatles, The Rolling Stones, Bob Dylan, The Kinks and The Animals, among others, were taking musical leaps and bounds and redefining popular culture song by song.

“ When the mode of the music changes, the walls of the city shake” - Plato

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Among other subjects, Not Fade Away beautifully examines the way one generation hung on every great rock song and tried its best to keep up with and cop all the best moves. As Chase puts it, “Those people invented something important: a new art form, a new business model, a new record industry, a new view of gender and a new perception of what stardom was. They really invented a new way of looking at art and at life.”

The sixties were a time that shaped David Chase’s thinking and artistic mission, a fact now clearly reflected by the remarkable way he has brought that time to life again in his first feature film. “I don’t think there’s been much better rock & roll produced since then,” says Chase who, like Not Fade Away ,s central character Douglas, served time as a drummer in an obscure New Jersey band with bigger dreams than

accomplishments. Steven Van Zandt describes that time in music as The Renaissance. “I always loved that period. It’s been very influential in my life— and probably in how I think. I first learned my ideas about popular art then like, oh that could be an art? You don’t have to paint the Sistine Chapel.

You could play the guitar or the drums and that would be an art too. Because that’s what happened during this period.

Music went from pop music to what some people call ‘an art’.”

Steven Van Zandt, who famously played Silvio Dante on The Sopranos and who served as an Executive Producer and the Music Supervisor for Not Fade Away, explains, “This is something that David had been talking about for a lot of years. David’s a very musical guy, first of all. Anyone who’s seen The Sopranos knows that. He was a drummer in a band, which people may not know. I think one of David’s first loves—if not his first love—was to be involved in rock & roll. He went sideways into TV and movies, but my impression was that music was a bit more important to him than is usual to a director or to a writer.”

Yet as Not Fade Away reminds us again, David Chase is definitely not just the usual director or writer. Not Fade Away, which shares the title of a classic Buddy Holly rocker that later became an early hit for The Rolling Stones, tells the tale of one young man’s struggles to find himself while exiled on Main Street somewhere in suburban New Jersey. Douglas (John Magaro) is an intense, introspective fellow searching a bit aimlessly for his artistic identity on the records and album covers of the mid-sixties. Opportunity knocks when he is asked to sit in on drums with a local rock combo that features Eugene (Jack Huston) and Wells (Will Brill).

Like so many great rock & roll stories, this one really starts with the classics—The Beatles and the Rolling Stones. As David Chase explains, “The movie really begins in 1964, which was when what was called, ‘the British Invasion’ hit the United States. That was The Beatles, The Stones, The Kinks, The Animals, and then everybody else who came after. It’s about a bunch of male friends in New Jersey, who started out in high school, are about to go to college and are exposed to that music. Like a gazillion other people, they decide it would be great to start that kind of band. And that’s what they try to do.”

A bit of a brooding outsider by nature, Douglas finds his way in when he joins the band. As the band struggles to define itself, Douglas makes his way closer to the spotlight as he begins to explore his own voice by trying on the looks and sounds of his heroes. Before very long—in a grand rock & roll tradition—tensions ensue within the band, both creative and otherwise.

The question becomes as it has for countless bands everywhere, both before and since, will this group “make it big” before those tensions tear them apart?

Either way, being part of the band at first called the Twylight Zones and later TBD dramatically transforms Douglas’ life and offers him the cooler and more bohemian identity that he so desperately desires. Among other things, Douglas’ raw talent and slightly Dylanesque onstage persona gives him the chance to finally win the attention of the beautiful girl of his dreams from high school, Grace Deitz (Bella Heathcote). This is, after all, the main reason that generations of male musicians have given for playing music in the first place. In Grace, Douglas finds his first true believer, and in his relationship with her he begins to imagine a whole new world of possibilities, as well as the chance to experience the burgeoning new sexual revolution hands-on.

Not Fade Away opens in select theatres this December.

Click here to watch the official movie trailer.

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directed by Paul Weitz

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ina Fey (Date Night, 30 Rock) and Paul Rudd (Knocked Up, This is 40) star in Admission, the new film directed by Academy Award®-nominee Paul Weitz (About a Boy), about the surprising detours we encounter on the road to happiness.

Fey plays Portia Nathan, a straightlaced Princeton University admissions officer who lives by the book, both at work and at home. But she’s caught off guard when she makes a recruiting visit to an alternative high school overseen by her former college classmate, the freewheeling John Pressman (Rudd). Pressman thinks that Jeremiah (Nat Wolff), his gifted yet very unconventional student, might well be the son that Portia secretly gave up for adoption many years earlier.

Soon, Portia finds herself bending the rules for Jeremiah, risking the life she thought she always wanted, but in the process finding her way to a surprising and exhilarating life and romance she never dreamed of having.

By turns hilarious and heartwarming, Portia is an unforgettable screen heroine. Admission also stars Michael Sheen, Wallace Shawn, Gloria Reuben and Academy Award®-nominee Lily Tomlin.

Click here to watch the official movie trailer.

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THE PLACE BEYOND THE PINES directed by Derek Cianfrance

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he highly anticipated new drama from director Derek Cianfrance (Blue Valentine) powerfully explores the consequences of motorcycle rider Luke’s (Academy Award® -nominee Ryan Gosling) fateful decision to commit a series of robberies to support his child. The incidents render him targeted by policeman Avery (Bradley Cooper) and the two men become locked on a tense collision course which will have a devastating impact on both of their families in the years following.

Phenomenally received at its premiere at this year’s Toronto International Film Festival, critics are calling The Place Beyond the Pines, “a fascinating high-stakes crime thriller” that’s ”an exhilarating, ‘Godfather’-esque multi-generational epic of fathers, sons and consequences.”

Q&A with filmmaker Derek Cianfrance Film Guide: What is the concept for Luke’s (Ryan Gosling) character?

Derek Cianfrance: Luke is a guy who has seen and done a lot and had a lot happen to him. He’s damaged, wounded—a person who is kind of covered, not necessarily in scars, but in these tattoos that are signs of the pain he has experienced.

Luke performs in a traveling motorcycle show. The show comes back to this place he’d been a year earlier, Schenectady, NY, and

he finds that a woman he’d had a fling with there, Romina (played by Eva Mendes), has had a baby. The moment he sees the baby, his life suddenly has purpose. It has meaning. While he has no real skills to be a father, he becomes a force of love—and that is a dangerous force.

FG: How does Avery (Bradley Cooper) get to the point where we meet him, and then afterwards?

DC: This is a guy who, since childhood, has had the ability to see and find his way. He’s been the high-road example, known and renowned for his best traits: a good fellow, popular, fair, honest, truthful, strong, high IQ. Against his father’s wishes, he has dropped out of law school to build himself from the ground up.

So when we first meet Avery, he is a 28-year-old rookie cop and, on duty, he makes a mistake. He decides to bury his own problems and focus on problems in the world. So he goes out and he does good things. But to not heal the wounds inside himself and to try to fix everything else around him is a tragic flaw, one which will haunt him.

FG: These are two very different characters. How about the actors playing them?

DC: Ryan has this incredible presence and charisma on-screen and in real life.

When I met Bradley, I saw that he had the same kind of charisma that Ryan has. But the thing that sold me on Bradley more than anything else was how hard he worked. After meeting with him a couple of times I went back to the script and reworked the character, because I knew Bradley could go deeper than I originally had in mind.

I think the reason The Place Beyond the Pines works is because Ryan and Bradley are not only movie stars and great actors, but also compelling human beings. Each brings a different energy to the movie, creating a balance and also a dichotomy.

The Place Beyond the Pines will be released by Focus Features starting late March.

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directed by Gus Van Sant

I

n Promised Land, Matt Damon stars as Steve Butler, a big-time corporate salesman whose life takes an unexpected detour when he lands in a small town and grapples with a surprising array of both open hearts and closed doors. Gus Van Sant, director of Good Will Hunting, reunites with his star and helms the film from an original screenplay written by John Krasinski and Matt Damon from a story by Dave Eggers.

Director Gus Van Sant remarks, “America is a big place and we are all part of it, so it’s hard to really get a grasp on our identity sometimes. What I loved about John’s and Matt’s screenplay is that they tackled big issues but with a lot of humor and humility. It’s a story about real people with all their foibles as well as their greatness.”

Krasinski notes, “Steve is a corporate guy who thinks what he’s doing is right and doesn’t feel bad about trying to get ahead. He’s been on the road as a salesman and now has a chance to reach the executive level.”

Producer Chris Moore adds, “When Steve shows up in McKinley with his partner Sue Thomason (played

by Academy Award® winner Frances McDormand) he figures all will be well because he comes from the heartland and he’s able to speak the language of these people. That, it turns out, is both his strength and his weakness. Ultimately he has to take stock of his whole existence and what he wants his life to be.”

Krasinski comments, “Natural gas drilling (being done

by Steve and Sue’s company) is a contemporary issue that serves as a perfect backdrop to our story, which we set out to write as an exploration of modern-day American identity. It’s an issue where, like high-stakes poker, the potential gains and the potential

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losses are enormous. For an individual faced with the opportunity, there’s a complex decision to be made.”

“Energy is a big thing that people are debating,” observes Moore. “Right away, that imparts a tension to our movie and creates a dialogue.”

Krasinski says, “Audience members will make their own decisions regarding the issue, but our goal is to affect moviegoers—with emotion and humor—in dramatizing these characters making their decisions and facing up to challenges both internal and external.

“Through these characters, I also wanted to explore the power of community in America. I remembered tales that my father told me about growing up in a small town. There was a belief in each other that I think was paramount. What happens to that kind of town today, facing huge change amidst economic turmoil and facing the question of how to act on issues together?”

Van Sant reflects, “In reading the script, I noticed how it resembled other things that Matt had worked on as a writer and I felt that he and John had turned out something so good together. It was very easy for me to say ‘Yes’ (to directing it).”

In Promised Land community necessities weigh heavily on Frank Yates, who lives a harmonious existence on his family farm and who well understands Steve’s conflicting interests.

Academy Award®-nominee Hal Holbrook met with the filmmakers and agreed to play Frank and be part of “a movie which had some meaning to it beyond just pure entertainment. The material, the script, is what’s important. That Matt was going to be in it was a big plus because I admire him. He’s maturing as an actor and he’s not a showy actor.

“My heart was in this role because this man is pointing out, ‘We can’t make a fast decision. We need to think it all through.’”

Promised Land was shot entirely on real locations in western Pennsylvania’s farm country.

“It’s so pristine and perfect and unspoiled there,” marvels Holbrook. “I was struck by the sight of green hills rolling against the sky. It’s what we came from, this country.”

Krasinski, whose father grew up in the state, notes that “there’s something you can never capture without coming here, a supportive energy and sweetness.”

It’s a story about real people, with all their foibles as well as their greatness.

As on previous movies, Van Sant sought to integrate locals into his cast who were not professional actors.

On Promised Land this enhanced the verisimilitude of scenes calling for dozens of community members, as well as made-for, invigorating on-camera interactions with the main actors.

Multiple open calls were held, each attracting hundreds who auditioned. Ultimately some 500 people were employed by the production as extras. The production also drew from the region’s talent pools of professional actors, including working child actors who were cast as several of the youngest characters.

Krasinski says, “The movie is about an ideal of America and how that is still attainable here and now. Matt and I are positive people, and at the heart of our movie is the belief that not only will things get better, but that the only way towards that is to be all in this together. Luckily the decisions are still in our hands.”

Focus Features releases Promised Land in select cities on December 28, and nationwide on January 4.

Scan this Tag to watch the official movie trailer.

Get the free tag app at http://gettag.mobi

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FIL M PREVIEWS

FILMPREVIEWS

a quick look at upcoming alternative & independent films

Click here to watch a collection of trailers from this section

AMOUR

Director: Michael Haneke Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family.

One day, Anne has an attack. The couple’s bond of love is severely tested.

ANNA KARENINA Director: Joe Wright

The third collaboration of Academy Award®-nominee Keira Knightley with acclaimed director Joe Wright, following the award-winning Pride & Prejudice and Atonement, is a bold, theatrical new vision of the epic story of love, adapted from Leo Tolstoy’s timeless novel by Academy Award®-winner Tom Stoppard.

The story powerfully explores the capacity for love that surges through the human heart. As Anna (Keira Knightley) questions her happiness and marriage, change comes to all those around her.

ANY DAY NOW Director: Travis Fine

Inspired by a true story from the late 1970s and touching on legal and social issues that are as relevant today as they were 35 years ago, Any Day Now is a powerful tale of love, acceptance and family. When a teenager with Down Syndrome is abandoned by his mother, a gay couple takes him in and becomes the loving family he’s never had. But when their unconventional living arrangement is discovered by authorities, the men are forced to fight a biased legal system to save the life of the child they have come to love as their own.

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FIL M PREVIEWS BARBARA

Director: Christian Petzold East Germany, 1980. Barbara Wolff is a young doctor who has applied for an exit visa from the GDR and, as punishment, has been transferred from her prestigious post in Berlin to a small pediatric hospital in the country. As her lover from the West carefully plots her escape, Barbara waits patiently and avoids friendships with her colleagues—except for Andre, the hospital’s head physician, who is warmly attentive to her. But even as she finds herself falling for him, Barbara still cannot be sure that Andre is not a spy. As her defensive wall slowly starts to crumble, she is eventually forced to make a profound decision about her future.

BUFFALO GIRLS

Director: Todd Kellstein This film is an unflinching look at Thailand’s underground world of child boxers called “Buffalo Girls.” Todd Kellstein’s documentary focuses on two 8-year-old girls who are professional Muay Thai prizefighters. Set in small villages throughout rural Thailand, the film chronicles these young girls’ journey, one that is alternately empowering and heartbreaking, as they fight in small neighborhood arenas in order to win prize money to help provide for their families. After many months of rigorous training and a grueling schedule of fights, the two must ultimately fight each other for the 20 Kilo championship belt of Thailand. The cash prize that goes with it will change the winner’s life forever.

CAFE DE FLORE

Director: Jean-Marc Vallee The film cuts between two seemingly unrelated stories. One, set in present-day Montreal, stars Kevin Parent as Antoine, a successful club DJ torn between his new girlfriend Rose and his still-complicated relationship with his ex-wife Carole. The other, set in 1960s Paris, stars Vanessa Paradis as Jacqueline, the fiercely protective single mother of Laurent, a child with Down syndrome who has a crush on a friend and companion who also has Down syndrome. The film builds toward a revelation of how these two stories are linked together.

CHASING ICE

Director: Jeff Orlowski Acclaimed National Geographic photographer James Balog was once a skeptic about climate change. But through his Extreme Ice Survey, he discovers undeniable evidence of our changing planet. Balog deploys revolutionary time-lapse cameras to capture a multi-year record of the world’s changing glaciers. His hauntingly beautiful videos compress years into seconds and capture ancient mountains of ice in motion as they disappear at a breathtaking rate.

CIRQUE DU SOLEIL: WORLDS AWAY 3D Director: Andrew Adamson

Executive-produced by Academy Award®-winning filmmaker James Cameron, this 3D experience features artistic and acrobatic performances from some of the most elaborate Cirque du Soleil productions. The film was produced by Adamson, Aron Warner, Cirque’s Martin Bolduc and Ed Jones and Cary Granat .

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FIL M PREVIEWS CITADEL

Director: Ciaran Foy Tommy Cowley is a young father suffering from chronic agoraphobia since his wife was brutally attacked by a gang of a twisted feral children. Trapped in the dilapidated suburbia of Edenstown, he finds himself terrorized by the same gang who now seem intent on taking his baby daughter. Torn between the help of an understanding nurse and a vigilante priest, Tommy sets out to learn the nightmarish truth surrounding these hooded children. He also discovers that to be free of his fears, he must finally face the demons of his past and enter the one place that he fears the most—the abandoned tower block known as the Citadel.

DJANGO UNCHAINED Director: Quentin Tarantino

Set in the South two years before the Civil War, Academy Award®-winner Jamie Foxx star as Django, a slave whose brutal history with his former owners lands him face-to-face with German-born bounty hunter Dr. King Schultz (Academy Award®-winner Christoph Waltz). Schultz is on the trail of the murderous Brittle brothers and only Django can lead him to his bounty. The unorthodox Schultz acquires Django with a promise to free him upon the capture of the Brittles—dead or alive.

FROM UP ON POPPY HILL Director: Goro Miyazaki

Set in Yokohama in 1963, the film centers on a high school couple’s innocent love and the secrets surrounding their births. The story takes place in a Japan that is picking itself up from the devastation of World War II and preparing to host the 1964 Olympics. The mood is one of both optimism and conflict as the new generation struggles to embrace modernity and throw off the shackles of a troubled past. The film’s rich color palette and painterly detail capture the beauty of Yokohama’s harbor and its lush surrounding hillsides, while the 1960’s pop soundtrack evokes nostalgia for an era of innocence and hope.

HITCHCOCK

Director: Sacha Gervasi Based on the book “Alfred Hitchcock and the Making of Psycho” by Stephen Rebello, Hitchcock is a love story about one of the most influential filmmakers of the last century, Alfred Hitchcock, and his wife and partner Alma Reville. The film takes place during the making of Hitchcock’s seminal movie Psycho.

HYDE PARK ON HUDSON Director: Roger Michell

In June 1939, President Franklin Delano Roosevelt (Bill Murray) and his wife Eleanor (Olivia Williams) host the King and Queen of England for a weekend at the Roosevelt home at Hyde Park on Hudson, in upstate New York—the first-ever visit of a reigning English monarch to America. With Britain facing imminent war with Germany, the Royals are desperately looking to FDR for support. But international affairs must be juggled with the complexities of FDR’s domestic establishment, as wife, mother and mistresses all conspire to make the royal weekend an unforgettable one. Seen through the eyes of Daisy, Franklin’s distant cousin, neighbor and intimate, the weekend will produce not only a special relationship between two great nations, but for Daisy—and through her, for us all—a deeper understanding of the mysteries of love and friendship.

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FIL M PREVIEWS IN OUR NATURE

Director: Brian Savelson When Brooklynite Seth takes his girlfriend Andie to his family’s weekend house in upstate New York for a romantic getaway, they are unexpectedly joined by his estranged father Gil and his much-younger new girlfriend Vicky. The women carefully negotiate emotional minefields as they persuade father and son to share the house for the first time since the summer vacations of Seth’s childhood. This unexpected family reunion in the great outdoors, fraught with tensions old and new, pushes them all to realize the bonds of family are always stronger and stranger than expected.

A LATE QUARTET

Director: Yaron Zilberman This film tells the story of a beloved cellist of a world-renowned string quartet who receives a life-changing diagnosis. The group’s future suddenly hangs in the balance as suppressed emotions, competing egos and uncontrollable passions threaten to derail years of friendship and collaboration. As they are about to play their 25th anniversary concert—quite possibly their last—only their intimate bond and the power of music can preserve their legacy.

LORE

Director: Cate Shortland In spring 1945 the German army collapses. As the Allied forces sweep across the Motherland, five children embark on a journey which will challenge every notion we have of family, love and friendship.

ON THE ROAD

Director: Walter Salles This is a provocative story of Sal Paradise, a young writer whose life is shaken and ultimately redefined by the arrival of Dean Moriarty, a free-spirited, fearless, fast talking westerner. Together, Sal and Dean travel cross-country in a quest for freedom from the conformity and conservatism engulfing them and in search of the unknown, themselves, and the pursuit of “it”—the pure essence of experience.

Seeking unchartered terrain and the last American frontier, the duo encounter an eclectic mix of men and women, each adding meaning to their desire for a new way of life.

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FIL M PREVIEWS QUARTET

Director: Dustin Hoffman Reggie, Wilf and Cissy reside in Beecham House, a home for retired opera singers.

Each year they stage a concert to celebrate Verdi’s birthday, which also raises funds for the home. Reggie’s ex-wife Jean arrives at the home and creates tension, playing the diva part but refusing to sing in the concert.

A ROYAL AFFAIR Director: Nikolaj Arcel

Directed by Nikolaj Arcel, screenwriter of The Girl with the Dragon Tattoo, A Royal Affair is an 18th century historical drama four years in the making, starring Mads Mikkelsen and Alicia Vikander. It is an epic romance about the love triangle between a German doctor, the queen of Denmark and her deranged king.

SIDE EFFECTS

Director: Steven Soderbergh This psychological thriller from director Steven Soderbergh is set in the world of the pharmaceutical industry. A troubled woman (Rooney Mara) who is coping with the imminent release of her husband (Channing Tatum) from jail, begins to take a new prescription drug with unforeseen consequences.

SILVER LININGS PLAYBOOK Director: David O. Russell

Life doesn’t always go according to plan. Pat Solatano (Bradley Cooper) has lost everything—his house, his job and his wife. He now finds himself living back with his mother and father after spending eight months in a state institution on a plea bargain. Pat is determined to rebuild his life, remain positive and reunite with his wife, despite the challenging circumstances of their separation. All Pat’s parents want is for him to get back on his feet. When Pat meets Tiffany (Jennifer Lawrence), a mysterious girl with problems of her own, things get complicated.

Tiffany offers to help Pat reconnect with his wife, but only if he’ll do something very important for her in return. As their deal plays out, an unexpected bond begins to form between them and silver linings appear in both of their lives. winter 2012

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FIL M PREVIEWS SISTER

Director: Ursula Meier Simon lives with his older sister in a housing complex below a luxury Swiss ski resort. With his sister drifting in and out of jobs and relationships, twelve-yearold Simon takes on the responsibility of providing for the two of them. Every day he takes the lift up to the opulent ski world above, stealing equipment from rich tourists to resell to the local kids down in the valley. He is able to keep their little family afloat with his small-time hustles, and his sister is thankful for the money he brings in. But when Simon partners with a crooked British seasonal worker, he begins to lose his boundaries, affecting his relationship with his sister and plummeting him into dangerous territory.

STARBUCK

Director: Ken Scott At 42, David lives the life of an irresponsible adolescent. He coasts through life with minimal effort and maintains a complicated relationship with Valerie, a young policewoman. Just as she tells him she’s pregnant, David’s past resurfaces. Twenty years earlier, he began providing sperm to a fertility clinic in exchange for money.

He discovers he’s the father of 533 children, 142 of whom have filed a class action lawsuit to determine the identity of their biological father, known only by the pseudonym Starbuck.

STAND UP GUYS Director: Jon Amiel

Stand Up Guys stars Academy Award®-winners Al Pacino, Christopher Walken and Alan Arkin in a tough but touching action comedy about retired gangsters who reunite for one epic last night. Val (Al Pacino) is released from prison after serving twenty-eight years for refusing to give up one of his close criminal associates. His best friend Doc (Christopher Walken) is there to pick him up and the two soon re-team with another old pal, Hirsch (Alan Arkin). Their bond is as strong as ever and despite their age, their capacity for mayhem is still very much alive and well. Bullets fly as they make a hilariously valiant effort to compensate for the decades of crime, drugs and sex they’ve missed. But one of the friends is keeping a dangerous secret—he’s been put in an impossible quandary by a former mob boss and his time to find an acceptable alternative is running out. As the sun rises on the guys’ legendary reunion, their position becomes more and more desperate and they finally confront their past once and for all.

STARLET

Director: Sean Baker Starlet explores the unlikely cross-generational friendship between 21 yearold aspiring actress Jane (Dree Hemingway) and elderly widow Sadie (Besedka Johnson) after their worlds collide in California’s San Fernando Valley. Director Sean Baker captures the rhythms of everyday life with an authenticity rarely seen in cinema.

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FIL M PREVIEWS STOKER

Director: Park Chan-wook After India’s father dies in an auto accident, her Uncle Charlie, who she never knew existed, comes to live with her and her emotionally unstable mother. Soon after his arrival, India comes to suspect this mysterious, charming man has ulterior motives.

But instead of feeling outrage or horror, this friendless girl becomes increasingly infatuated with him.

TABU

Director: Miguel Gomes This is a sumptuous, eccentric two-part tale centered on Aurora, shown first as an impulsive, cantankerous elderly woman in present-day Lisbon. When Aurora is hospitalized, she sends her neighbor, Pilar, to pass word of her grave condition to Gian Luca, a man of whom no one has ever heard her speak. Pilar’s quest to fulfill her friend’s wish transports us to Africa fifty years earlier, before the start of the Portuguese Colonial War. We see Aurora again, this time as the gorgeous, smoldering wife of a wealthy young farmer, involved in a forbidden love affair with Gian Luca, her husband’s best friend. Their moving, poetic tale is conveyed through the older Gian Luca’s suave voiceover, combined with the lush, melodious sounds of its heady, tropical setting and peppered with a soundtrack of Phil Spector songs.

WAITING FOR LIGHTNING Director: Jacob Rosenberg

This is the inspirational story of visionary skateboarder Danny Way. The film follows the journey of a young boy from a broken home in Vista, CA, whose passion for skateboarding would one day bring him fame and a lifetime of accomplishments.

As exemplified on screen, Way's drive has no limits. Across many cultural and ideological boundaries he creates a ramp of prodigious and dangerous proportions, attempting the impossible: jump China's Great Wall on a skateboard. It’s a film about how much abuse the body can sustain, how deep one has to dig to survive the challenges life presents, and how high and far dreams can fly. Danny Way not only has proven himself to be an incredibly talented skateboarder but also the sport’s greatest innovator. In his quest for greatness, Way continues to shape the very sport which helped save his own life.

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

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“JACK K KEROUAC’S PEERLESS ANTHEM to the romance of youthful freedom and experience has finally made it to the screen with its virtues and spirit intact.”

-KENNETH TURAN, LOS ANGELES TIMES

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