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funeralicious · 7 years

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Gregg Allman Passes at 69

Gregg Allman, Soulful Trailblazer Of Southern Rock, Dies At 697 Hours Ago The Hollywood Reporter — Deborah Wilker

Gregg Allman, the soulful singer-songwriter and rock 'n' blues pioneer who founded The Allman Brothers Band with his late brother, Duane, and composed such classics as "Midnight Rider," "Melissa" and the epic concert jam "Whipping Post," has died at age 69, Billboard has learned. He was diagnosed with hepatitis C in 1999 and underwent a liver transplant in 2010.

With his long blond hair, cool facade and songs that chronicled restless, wounded lives, Allman came to personify the sexy, hard-living rock outlaw in a life marked by musical triumph and calamitous loss.

Billboard will have more information about the specifics behind Allman's death as the story develops. Allman fronted his band for 45 years, first alongside Duane and then as its sole namesake, after his older brother — regarded as one of the most influential guitarists in rock history — was killed in a motorcycle accident in November 1971, just as their trailblazing Southern rock tracks were taking hold on the charts. Soldiering on through grief and then the eerily similar death of bassist Berry Oakley just one year and 10 days after Duane died, Allman and the band became as well known for their stoic survival as they were for their freewheeling concerts. After years of tragedy, dramatic breakups and tense reconciliations, a reconstituted Allman Brothers Band engineered a renaissance starting in the mid-'90s that put their fiery brew of old-time blues, jazz and country rock squarely at the forefront of music's thriving jam scene. The Allmans' annual rite of spring — a three-week run of shows typically held every March at the historic Beacon Theatre on New York's Upper West Side — remade the band into a formidable commercial force in recent decades, long after many in the music industry had written them off. A gentle and at times fierce balladeer, Allman would spend the majority of these shows behind his Hammond organ, taking center stage only briefly, usually with his acoustic guitar for "Melissa," which would start quietly and then blossom into a freeform jam. With 238 concerts at the Beacon from 1989-2014, the Allmans had become such an important tenant that when the theater's new owner, The Madison Square Garden Co., announced plans for a renovation in 2006, Allman was consulted. His plain-spoken advice to executives: "Just don't screw it up." Gregory LeNoir Allman was born in Nashville on Dec. 8, 1947, slightly more than a year after Duane. Tragedy struck early for the brothers when their father, Willis Turner Allman, an Army captain who had just returned home, was shot and killed in 1949 while helping a hitchhiker. The family moved to Daytona Beach, Fla., but Allman returned to Nashville often to visit relatives, developing an interest in music while there, particularly after seeing a concert featuring Otis Redding, B.B. King, Jackie Wilson and Patti LaBelle on one life-changing bill. He bought his first guitar for $21.95 at Sears, but soon Duane was demanding to play it. The brothers became so consumed by their music, and so intent on continuing, that Gregg deliberately shot himself in one foot to gain a medical exemption from the Vietnam draft. (He had studied a skeletal chart to find the least damaging place to shoot.)

One of their early bands, The Escorts, evolved into the moderately successful Allman Joys. They toured the South relentlessly, endured an ill-fated label deal in California and were signed — along with Oakley, guitarist Dickey Betts and drummers Jai Johanny "Jaimoe" Johanson and Butch Trucks — as The Allman Brothers Band by Macon, Ga.-based Capricorn Records in 1969. The guys were enjoying a first rush of mainstream fame with the release of their third album, the landmark live set At Fillmore East, when Duane was killed in Macon after the motorcycle that he was piloting swerved to avoid a truck and crashed. He was 24. Still in shock, the band quickly resumed work on 1972's Eat a Peach, highlighted by its haunting opening track, "Ain't Wasting Time No More," Allman's enduring tribute to his brother. They summoned their strength once again after Oakley's death — also from a motorcycle crash just blocks from where Duane had been fatally injured — adding new members and recording 1973's Brothers and Sisters. That disc remained No. 1 on Billboard's album chart for five weeks and featured the Betts classics "Jessica" and "Ramblin' Man." The Allmans' fame grew exponentially, and in 1973 they played before a record-breaking 600,000 fans at The Summer Jam at Watkins Glen, N.Y., alongside the Grateful Dead and The Band. But in 1976, the group would endure the first of several rancorous splits, which saw Allman clashing most intensely with Betts for control. (The guitarist would be fired in 2000.) In 1975, Allman, then 27, was downing a quart of vodka a day, hooked on heroin and already on his third marriage — this time to Cher, the '60s pop icon who was then a star of CBS variety shows, first with former husband Sonny Bono and then on her own. But just nine days into the new union, Cher, distressed by Allman's drug use, walked out.

They reconciled, had a son, Elijah Blue Allman, and briefly became a recording duo, billing themselves as Allman and Woman. Their one record together, 1977's Two the Hard Way, was disparaged by critics and their divergent fan bases and was a particularly tough sell given Cher's professional reunion with Bono for a new CBS show at the time. Allman and Cher divorced in 1979.

During this era, Allman also was something of a grassroots political activist, helping put a little-known Jimmy Carter into the White House with an endless run of fundraising concerts. (When Macon's Mercer University bestowed an honorary doctorate upon Allman in May 2016, it was Carter who presented it.) In a 2015 interview with Dan Rather, Allman detailed his many failed attempts at rehab and how the stage could numb just about any kind of pain. "I've walked onstage with an abscessed tooth and as soon as you get out there, it goes away," Allman said. "Walk offstage, it comes back. It's the land of no pain." His determination to rebuild The Allman Brothers Band dovetailed with his first long stretch of sobriety, finally accomplished at age 47, soon after he saw a replay of his incoherent appearance during the group's 1995 induction into the Rock and Roll Hall of Fame. They received Grammy's Lifetime Achievement Award in 2012.

By the time The Allman Brothers Band had added 20-year-old guitar prodigy Derek Trucks (nephew of the founding drummer) in 2000, they were finally settling into their most stable groove in three decades — a 15-year finale of sorts that lasted until the younger Trucks and fellow guitarist Warren Haynes decided to leave. The band called it day with one final Beacon run in 2014.

That same year, Allman was again linked with tragedy: The movie-set death of camera assistant Sarah Jones, who was working on the indie biopic Midnight Rider, based on Allman's 2012 autobiography, My Cross to Bear. After Jones was killed and six others injured, director Randall Miller wanted to continue with the film, but Allman begged him to drop the project. A prolific solo artist who also toured and recorded through the decades with his own Gregg Allman Band, he had his biggest solo radio hit in 1987, the catchy "I'm No Angel," which reached the top spot on Billboard's Album Rock Tracks chart. His nine solo albums included All My Friends, recorded at a 2014 tribute concert to him at the Fox Theatre in Atlanta, and 2015's Live: Back to Macon, GA. A new studio album, Southern Blood, is scheduled to be released this year. Allman canceled a round of concert dates in 2016 but got back on the road briefly last fall, performing his last known shows at his own Laid Back Festivals — Sept. 25 at Red Rocks Amphitheatre outside Denver and Oct. 29 at Lakewood Amphitheatre in Atlanta. He endured yet more heartbreak in January when Butch Trucks committed suicide at age 69.

In March, Allman announced that he was canceling all shows in 2017 and offered refunds to fans. His last song on stage appears to have been "One Way Out." In addition to Elijah Blue, his survivors include his other children Michael, Devon, Delilah and Layla.

MY SINCEREST CONDOLENCES TO FAMILY

GOODBYE OLD FRIEND.....

#allman brothers band #rock n roll #Rockstar #country rock #friend #rock legend #legend #death #death notice #obituary #southern rock #music #musician #guitar #keyboards #MSG

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jessicakehoe · 4 years

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16 of the Most Memorable TIFF Red Carpet Looks

Fill the void you may be feeling from missing the glamour and excitement of the Toronto Film Festival by looking back at the most memorable TIFF red carpet looks. Below, scroll through the best brocades, embroidery and tulle that have graced the streets of Toronto – from a bejewelled money minaudière worn by J.Lo to the Hustlers premiere to Lady Gaga’s theatrical veil at the A Star is Born red carpet, some of the most fashionable moments on Canadian soil have taken place at the TIFF red carpet. Want more? Here’s all the ways your can participate in the festival from a distance this year.

Click through for the best fashion from the TIFF red carpet that’s still inspiring us to this day:

Photo by George Pimentel/Getty Images

Photo by Frazer Harrison/Getty Images

Photo by Isaiah Trickey/FilmMagic

Photo by Tommaso Boddi/Getty Images

Photo by Michael Tran/FilmMagic

Photo by VALERIE MACON/AFP via Getty Images

Photo by Emma McIntyre/Getty Images

Photo by Tara Ziemba/WireImage

Photo by GEOFF ROBINS/AFP via Getty Images)

Photo by Ian West - PA Images/PA Images via Getty Images

Photo by Michael Tran/WireImage

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Photo by Terry Rice/Getty Images

Photo by J. Countess/WireImage

Photo by Michael Hurcomb/Corbis via Getty Images

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The Most Memorable TIFF Red Carpet Looks

Renee Zellweger attends the “Judy” premiere in 2019 in Ulyana Sergeenko.

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Jennifer Lopez attends the “Hustlers” premiere in 2019 in Maison Yeya and a Judith Leiber Clutch.

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Michael B. Jordan attends the “Just Mercy” premiere in 2019 in Givenchy.

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Dakota Johnson attends “The Friend” premiere in 2019 wearing Dior.

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Natalie Portman attends the “Vox Lux” premiere in 2018 in Dior.

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Lady Gaga attends the “A Star is Born” premiere in 2018 wearing Armani Prive.

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Nicole Kidman attends “The Goldfinch” premiere in 2019 in Chanel Haute Couture.

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Brie Larson attends the “Just Mercy” premiere in 2019 wearing Giambattista Valli Haute Couture.

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Timothee Chalamet attends the “Beautiful Boy” premiere in 2018 in Haider Ackermann.

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Actress Halle Berry attends the “Kings” premiere in 2017 in Zuhair Murad.

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The Most Memorable TIFF Red Carpet Looks

Cate Blanchett attends “Elizabeth: The Golden Age” premiere in 2007.

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2016 Toronto International Film Festival – “Queen Of Katwe” Premiere – Arrivals

Lupita Nyong’o attends the “Queen Of Katwe” premiere in 2016 in Carolina Herrera.

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Tilda Swinton attends the “We Need To Talk About Kevin” premiere in 2011 in Haider Ackermann

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The Most Memorable TIFF Red Carpet Looks

Jennifer Lawrence attends the “Silver Linings Playbook” premiere in 2012 in Dior.

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Kate Bosworth attends the “Still Alice” premiere in 2014 in Hugo Boss.

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Keira Knightley attends “The Imitation Game” premiere in 2014 wearing Chanel Haute Couture.

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emzeciorrr · 4 years

Video

vimeo

Once Upon a Line from Alicja Jasina on Vimeo.

A man leads a monotonous, unfulfilling life until meeting with the girl of his dreams turns his world upside down. As things spiral out of control, the man discovers a new way of living.

Directed by Alicja Jasina Music by Aaron Gilmartin Sound by Katie Gately Produced at University of Southern California

alicjajasina.com | [email protected]

Awards

Best Creative Award, Beijing Film Academy Audience Award, 19. Internationalen Trickfilm-Wochenendes Wiesbaden Audience Award, Animaphix Best Animated Short, Walla Walla Movie Crush Cilect Prize, Switzerland Winner at 12th Annual Martha’s Vineyard International Film Festival ANNY Best of Fest Winner Gold at Student British Academy of Film and Television Arts Special Jury Award at Globe International Silent Film Festival 1st Award in Student Competition at Athens Animfest, Greece Silver at Ogolnopolski Festiwal Polskiej Animacji, Poland Grand Prix International du Public at Festival International du Court Métrage d’Animation Roanne Prix du Jury at Festivals Conexion - Auvergne Rhone-Alpes, France Best Short at Szczecin European Film Festival ’17, Poland Shortlisted in Animated Short Category, Academy Awards Student Academy Awards Gold Winner for ‘Once upon a Line’ short film Best Student Film Award at Animasyros International Film Festival, Cyprus Best Short Film at Mountain Shadow Film Festival, US Hollywood Eagle Award for the Best Animated Short at Polish Film Festival, Los Angeles, US Best Direction at Tofuzi International Festival of Animated Films, Georgia Audience Award at Les Nuits Magiques Festival, France

Screenings

33rd International Short Film Festival Berlin KUKI 10th International Short Film Festival for Children and Youth Berlin 26th Annual Berkeley Video and Film Festival 2017 The 9th Animation Festival and Market of Segovia The British Animation Film Festival 2017 Macon Film Festival Insomnia International Animation Film Festival Wiesbaden International Weekend of Animation Anima Mundi, Brazil Klik! Amsterdam Animation Festival London International Animation Festival ReAnimania International Animation Festival Manchester Animation Festival Cinanima Animation Festival, Portugal Cyprus Animafest Cinetekton! Film Festival, Puebla, Mexico Primanima World Festival of First Animations, Hungary Polish Film Festival, Los Angeles Krok International Animated Film Festival, Russia Anim'est International Animation Film Festival, Cyprus Animasivo Festival, Mexico "Les Nuits Magiques" Film Festival, France Les Sommets du cinéma d'animation - Festival international de Montréal The International Festival of Animation Arts Multivision, Russia Leuven Short Film Festival, Belgium Caminhos Film Festival, Portugal Animae Caribe Animation and Digital Media Festival O!PLA Ogólnopolski Festiwal Polskiej Animacji, Poland BKSTS Student Widescreen Film of the Year Competition, US Anima Brussels, Belgium Roanne Animation Festival, France 41st Cleveland International Film Festival Marano Ragazzi Spot Festival Slo Cartoon Slovenia Home Cinema CutOut Fest Omaha Film Festival Cape Town International Animation Festival First Frame Festival, Los Angeles First Look Festival, Los Angeles Ferfilm Festival Animocje Festival, Poland Focus on Female Directors 2017, American Cinematheque, LA The Film Bunch screening, London Frames Film Festival Poetry and Film Festival Spectrum Film & Television Festival Sun Valley Film Festival International Festival of Animated Films ANIFILM 2017, Trebon Athens International Film + Video Festival The Globe International Silent Film Festival Anifilm, Trebon Holland Animation Film Festival Washington DC International Film Festival Spectray Film and Television Festival Starfest Festival Cinema Jam Athens Animfest The Globe International Silent Film Festival Twister Alley Film Festival First Look, Los Angeles Stark County District Library Screenings, Ohio The Smalls Film Festival 2017 Ojai Film Festival 2017 Big Cartoon Festival 2017 Moscow Canterbury Anifest 2016 Flixx Fest Northwest Animation Festival

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otherpplnation · 5 years

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Episode 610 — Adam Mansbach

Adam Mansbach is the guest. He is the author of the #1 New York Times bestseller Go the Fuck to Sleep, and has just published a new book called Fuck, Now There are Two of You.

Go the Fuck to Sleep has been translated into forty languages, named Time Magazine's 2011 "Thing of the Year," and sold over three million copies worldwide. The 2014 sequel, You Have to Fucking Eat, is also a New York Times bestseller.

Mansbach was recently nominated for an Independent Spirit Award and an NAACP Image Award for his screenplay Barry. The film premiered to rave reviews at the Toronto International Film Festival, where it was acquired by Netflix and released as a Netflix Original on December 16, 2016.

Mansbach's 2013 novel, Rage is Back, was named a Best Book of the Year by National Public Radio and the San Francisco Chronicle. Adapted for television by Mansbach and Danny Hoch, it is currently in development at USA as an hour-long drama.

Mansbach's previous novels include The End of the Jews (2008) which won the California Book Award, and the cult classic Angry Black White Boy, or the Miscegenation of Macon Detornay (2005), which is taught at more than eighty schools and was adapted into a prize-winning stage play in 2008.

His work has appeared in The New Yorker, New York Times Book Review, Esquire, The Believer, The Guardian, The Los Angeles Times, The Boston Globe, and on National Public Radio's All Things Considered, The Moth Storytelling Hour, and This American Life.

He lives in Berkeley, California, and is a frequent lecturer on college campuses.

www.otherppl.com

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project-casting · 5 years

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Amy Adams' 'Hillbilly Elegy' Casting Call for Factory Workers

Amy Adams’ ‘Hillbilly Elegy’ Casting Call for Factory Workers

Ron Howard‘s ‘Hillbilly Elegy‘ is now casting extras for a factory scene in Atlanta, Georgia.

Casting directors are now casting actors, models, and talent to work on Wednesday, July 17th in Macon, Georgia.

Producers are seeking the following types:

MEN-

Ages 18 to 80

ALL ethnicities

SIZE 38 to 44 JACKET only, short hair (or open for a neat, shorter hair cut), no facial hair (except a mustache),…

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#Amy Adams #Atlanta #Casting Call #Hillbilly Elegy #Tammy Smith Casting

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cumminscalpacific · 5 years

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Daily Digest

CBRE, Mosaik Partner To Map Cellular Service

CBRE has partnered with Memphis-based Mosaik to analyze cellular and Wi-Fi coverage at commercial properties.

With the launch of CBRE’s new Benchmark In-Building Cellular Mapping Services, CBRE Telecom Advisory Services will be able to quantify the network quality of entire properties or an individual unit.

“We cannot emphasize enough the importance of in-building coverage,” said Cris Kimbrough, managing director of Telecom Advisory Services for CBRE. “When individuals have poor in-building network experiences, it impacts their overall view of a property.”

With the Mosaik partnership, CBRE will be able to remedy coverage issues by determining where distributed antenna systems or other small cell installations may be needed. By using Mosaik’s Signal Insights application, CBRE or property owners will be able to map both indoor and outdoor signals and analyze performance indicators like download speed and signal strength.

CBRE expects to start offering Benchmark In-Building Cellular Mapping to its customers this October.

– Madeline Faber

Memphis Towers Apartments Sell for $13.5 Million

An apartment high-rise in the Memphis Medical District has sold for $13.5 million.

Memphis 2192 TN LLC, a company of Millennia Housing Development, purchased the eight-story, 306-unit Memphis Towers apartments from Memphis II LP in an Aug. 19 warranty deed.

The Class C property at 1081 Court Ave. was built in 1978. The building bears 185,146 square feet and is situated on 2.9 acres on the south side of Court east of North Camilla Street. The Shelby County Assessor most recently appraised the property at $5.4 million.

In conjunction with the sale, Memphis 2192 TN LLC filed a $10 million loan through Pillar Multifamily LLC.

– Madeline Faber

Grizzlies to Hold D-League Open Tryout Oct. 9

The Iowa Energy, the NBA Development League affiliate of the Memphis Grizzlies, will hold their annual open player tryouts for the upcoming 2016-17 season on Oct. 9 from 1 p.m. to 5 p.m. at the Hyde Gym on the Memphis University School campus, 6191 Park Ave.

Basketball staff from both the Grizzlies and Iowa Energy will be on hand to make evaluations. Registrations completed before Oct. 9 are $150. Same-day registration is $200. Go to grizzlies.com or iowanba.com for more information.

– Don Wade

Cordova Hotel Sells for $2M

A Quality Suites hotel in Cordova has sold for $2 million.

Akshar Macon LLC purchased the hotel from Minesh Patel in an Aug. 25 warranty deed. Built in 1996, the property at 8166 Varnavas Drive bears 66,050 square feet. It sits on 2.2 acres on the north side of Varnavas east of North Germantown Parkway, and the Shelby County Assessor’s 2016 appraisal was $2 million.

In conjunction with the sale, Akshare Macon LLC filed a $3.7 construction loan woth Centennial Bank.

– Madeline Faber

Tim Jackson Wins Tennessee Senior Amateur Championship

Germantown’s Tim Jackson won the 2016 Tennessee Senior Amateur Championship by two strokes. Jackson shot a pair of 3-under par 69s in rounds 1 and 3.

The thick rough and quick greens of Spring Creek Ranch made for a tough test as Jackson was the only player to finish the week under par. The division is for golfers 55 and older.

Buzz Fly of Memphis tied for seventh place, and Gary Simpson and Barry Stafford, both of Memphis, tied for 11th place.

In the Super Senior Amateur, for golfers 65 and older, David Kraus of Memphis finished third and Cordova’s Bob Clark came in 10th. Neil Spitalny of Chattanooga captured the Super Senior title after winning a playoff on the second hole over Jim Webb of Brentwood.

– Don Wade

VIA Productions Hires Business Development Director

VIA Productions, a full-service production company with offices in Memphis and Los Angeles, has added Lindsey Roberts as director of business development.

In that newly created role, Roberts will drive new business, build strategic relationships and drive new opportunities.

Prior to joining VIA, Roberts spent five years with Vaco Memphis as a staffing manager and executive recruiter. The announcement follows a year of new partnerships and staffing growth. And with the addition of Roberts, VIA aims to further bolster its presence in both Memphis and Los Angeles.

– Andy Meek

FedEx Institute Partners With Indie Memphis for Film Tech Contest

The FedEx Institute of Technology is launching the 2017 Film Innovation Challenge, a contest open to filmmakers across the country that highlights the latest advances in technology innovation.

Contestants are invited to submit films between five and 10 minutes long in one of two categories: Film Innovation and Technical Innovation. Each category is designed to push the limits of how film can incorporate emerging technologies, both as subject matter and as technical development. The Film Innovation Challenge festival highlighting the finalists will be held at the FedEx Institute of Technology on Jan. 19.

A special category has been made available to University of Memphis students and alumni, who may submit to either the technical innovation or film innovation category and will be judged against a separate pool from the national competition.

The deadline for submissions is Dec. 9, with finalists notified on Dec. 19. Submissions must fit one of two categories:

• Film Innovation Challenge: Films must feature emerging trends in science and technology as their principal subject matter. This may be presented in the form of a documentary, original fictional work or experimental piece. Content must focus on technology advances which could be implemented in the next five to 10 years based on the current state of emerging technologies.

• Technical Innovation Challenge: Films should exhibit a technical innovation in their filmmaking process. Technical innovation is defined as the incorporation of a new or emerging technology which can include virtual reality/immersive technology, micro filmography or advanced CGI. Entries must include an essay explaining the implemented innovation. Email essays to [email protected] with subject line: “Film Innovation Challenge: Technical Innovation Essay.” Only technique will be judged.

Submissions will be managed through FilmFreeway, and entrants must be present at the film festival to win. Visit memphis.edu/fedex/film for complete details.

– Don Wade

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telavivcity-blog · 6 years

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Piscina TRAILER (41 Awards)

https://telavivcity.co.il/?p=9752&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr The City that never sleeps Piscina TRAILER (41 Awards) https://telavivcity.co.il/?p=9752&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr WINNER OF 41 AWARDS and selected for more than 130 Film Festivals around the world. You can watch the short film here: https://www.seedandspark.com/watch/piscina Official Selections: - 22nd Palm Springs International Short Fest – California/USA – Jun/2016. (Academy Award Qualifying) - 30th EIFF - Edmonton Inter. Film Festival – Canada – Sept/2016. (Academy Award Qualifying) - 39th Mill Valley Film Festival – California /USA – Oct/2016. - 14th SWGLFF - Southwest Gay & Lesbian Film Fest – New Mexico /USA – Oct/2016. - 11th Tacoma Film Festival /Washington – USA – Oct/2016. - 27th Lesbisch Schwule Filmtage Hamburg IQFF /Germany – Oct/2016. - 20th Perlen – Queer Film Festival Hannover /Germany – Oct/2016. - 27th New York’s LGBT Film Festival – New Fest /USA – Oct/2016. - 26th Curta Cinema - Festival Inter. de Curtas do Rio de Janeiro /Brazil – Nov/2016. - 24th Festival Mix Brasil de Cultura e Diversidade – São Paulo /Brazil – Nov/2016. - 18th QCinema LGBTQ Film Festival – Texas/USA – Nov/2016. - 22nd Festival du Film LGBTQ Chéries-Chéris – Paris /France – Nov/2016. - 32nd LGBT Film Festival in Ljubljana /Slovenia – Nov/2016. - 10th GRAND OFF Short Independent Film Awards – Warsaw /Poland – Dec/2016. - 26th Melbourne Queer Film Festival /Australia – March/2017. - 17th Muestra Intern. de Cine LGBT CINHOMO – Valladolid/Spain – March/2017. - 33rd Wicked Queer – The Boston LGBT Film Festival /USA – March/2017. - 19th Sarasota Film Festival - Sarasota /USA – April/2017. - 18th Through Women Eyes Inter. Film Festival – Sarasota /USA – April/2017. - 18th Crossroads International Film Festival – Mississipi /USA – April/2017. - 16th Ashland Independent Film Festival – Oregon /USA – April/2017. - 36th Minneapolis St. Paul International Film Festival – USA – April/2017. - 19th OUT SHINE Film Festival – Miami /USA – April/2017. - 13th West Chester Film Festival /USA – April/2017. - 18th Newport Beach Film Festival – California/USA – April/2017. - 26th Arizona International Film Festival /USA – April/2017. - 20th Cine Las Americas Inter. Film Festival – Austin /USA – May/2017. - 27th Inside Out - Toronto LGBT Film Festival /Canada – May/2017. - 21st Festival Mix Mexico – Ciudad de Mexico /Mexico – May/2017. - 11th TLVFest – Tel Aviv International LGBT Film Festival /Israel – Jun/2017. - 30th Out Film - Connecticut LGBT Film Festival /USA – June/2017. - 27th Lesbian Film Festival Freiburg /Germany – Jun/2017. - 21st FAM- Florianopolis Audiovisual Mercosul – St. Catarina /Brazil – Jun/2017. - 35th OUTFEST – Los Angeles LGBT Film Festival /USA – Jul/2017. - 13th Festival de Cine LesbiGayTrans de Assunción /Paraguay – Jul/2017. - 28th São Paulo International Short Film Festival /Brazil – Aug/2017. - 50th Viña del Mar International Film Festival – FICVIÑA /Chile – Sept/2017. - 14th DC Shorts Film Festival /USA – Sept/2017. - 13th Ellensburg Film Festival – Washington /USA – Oct/2017. - 24th Pride Pictures – Queer Film Festival Karlsruhe /Germany – Oct/2017. - 28th Tampa Bay International Gay & Lesbian Film Festival /USA – Oct/2017. - 25th ImageOut – The Rochester LGBT Film Festival - NY /USA – Oct/2017. - 11th Iris Prize – Cardiff’s International LGBT Short Film Prize /UK - Oct/2017. - 24th Bremen Queer Film Festival /Germany – Oct /2017. - 26th Heartland Film Festival – Indianapolis /USA – Oct/2017 (Academy Award Qualifying). - 12th Orlando Film Festival /USA – Oct/2017. - 32nd MIX COPENHAGEN – LGBTQ Film Festival/Denmark – Oct/2017. - 20th Festival de Cine LGBT de Extremadura /Spain – Nov/2017. - 26th Vinokino - Finnish LGBT Film Festival /Finland – Nov/2017. - 15 th Curta Santos Film Festival /Brazil – Nov/2017. - 10th La Cabina Medium Length Film Festival – Valencia /Spain – Nov/2017. - 21st Queersicht Film Festival – Bern /Switzerland – Nov/2017. - 15th Kalpanirjhar Inter. Short Fiction Film Festival – Kolkota /India – Dec/2017. - 15th Bloomington Pride Film Festival – Indiana /USA – Jan/2018. - 25th Queer Screens’s Mardi Gras Film Festival – Australia – Feb/2018. - 21st Roze Filmdagen – Amsterdan LGBTQ Film Festival /Netherlands – Mar/2018. - 16th Garden State Film Festival – New Jersey /USA – March/2018. - 25th San Diego Latino Film Festival /USA – March/2018. - 42nd Cleveland International Film Festival /USA – April/2018 (Academy Award Qualifying). - 12th Festival of Tolerance – Zagreb /Croatia – April 2018. - 27th London Lesbian Film Festival – Ontario /Canada – May/2018. - 8th FICIP Festival Internacional de Cine Político /Argentina – May/2018. - 18th Korea Queer Film Festival /South Korea – July/2018. - 25th Gaze Inter. LGBT Film Festival Dublin /Ireland – August/2018. - 13th Macon Film Festival /Gerogia – August/2018. - 42nd Open Air Filmfest Weiterstadt /Germany – August/2018. - 36th REELING – Chicago LGBTQ+ International Film Festival /USA – Sept/2018. - 16th PinkPanorama – Lesbishcwules FF Luzern /Switzerland – Nov/2018. and many others... Likes: 14 Viewed: 7887 source #41 #Awards #Piscina #telavivbeach #telavivmap #telavivmuseum #telavivweather #tel-aviv #trailer TEL AVIV - THE CITY THAT NEVER SLEEPS #gaypridetelaviv2019 #TELAVIVPRIDE2019 #Uncategorized

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aniekanekah · 6 years

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Hollywood Star Seagal Relieved As Prosecutors Drop Sexual Assault Case

Actress Portia de Rossi attends the Disney premiere of “Finding Dory” at El Capitan Theater in Hollywood, California, on June 8, 2016 and actor Steven Seagal attending 2014 Chinese American Film Festival Opening Night Ceremony at Pasadena Civic Auditorium on November 4, 2014 in Pasadena, California. Valerie MACON / AFP

Hollywood action star Steven Seagal will not face prosecution after a woman…

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nonej · 6 years

Video

vimeo

Once Upon a Line from Alicja Jasina on Vimeo.

A man leads a monotonous, unfulfilling life until meeting with the girl of his dreams turns his world upside down. As things spiral out of control, the man discovers a new way of living.

Directed by Alicja Jasina Music by Aaron Gilmartin Sound by Katie Gately Produced at University of Southern California

alicjajasina.com | [email protected]

Awards

Screenings

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mrmichaelchadler · 6 years

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The 20 Most Exciting World Premieres of TIFF 2018

For a few years now, there’s been a creeping sense that the Toronto International Film Festival was losing a bit of its luster due to major films premiering the week before in Venice and Telluride. For example, last year’s Oscar-winning “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri” started their award-caliber momentum not in Canada but in Italy. Sure, there are always some major films that bypass Europe and Colorado to start in Toronto (“I, Tonya” did last year, for example), but could TIFF regain some of that power this year? It looks like that might be the case. Yes, there are films doing the earlier fests that will matter this year including “A Star is Born” and “Can You Ever Forgive Me?” (and we will hit those from multiple festivals) but the slate of World Premieres at TIFF 2018 is the best in the five years that I’ve been going. Alphabetically, the 20 films we’re most excited to cover for you, and come back for full-length reviews, dispatches, interviews and more by yours truly, Monica Castillo, Tomris Laffly, and Vikram Murthi.

“Beautiful Boy”

Fans of Timothee Chalamet’s Oscar-nominated breakthrough in “Call Me By Your Name” hope he builds on that with this year’s “Beautiful Boy,” based on a true story. Chalamet co-stars with Steve Carell, an actor clearly hoping for a big, possibly Oscar-inclusive Fall, with this entry and “Welcome to Marwen.” There are rumors in the ether that this was turned down by Venice—not a good sign—but let’s hope they just got this one wrong.

“Ben is Back”

Speaking of hot young actors who appeared in “Lady Bird,” Lucas Hedges is not even remotely close to letting the opportunities afforded him by his “Manchester by the Sea” Oscar nod pass him by. Hedges appeared in that Best Picture nominee in 2016 and landed two more in 2017 (Gerwig’s film and “Billboards”). Could he make it a hat trick in 2018? He appears in three TIFF films, one of which is actually premiering at Telluride (“Boy Erased”) and arguably looks the most promising of the three, and he’s in Jonah Hill’s directorial debut, “Mid90s,” which you’ll find further down this list. “Ben is Back” has a mysterious plot summary that’s really right there in the title. Hedges’ son Ben returns to Julia Roberts’ mother Holly after an extended absence. Watch for our review and we’ll offer some more hints on what happens next.

“The Death and Life of John F. Donovan”

Cannes golden boy Xavier Dolan couldn’t hold his latest until next year’s festival, choosing instead to World Premiere his English-language debut at his home country’s #1 festival. Love or hate the Quebecois enfant terrible of the cinema scene, you can’t deny the cast he’s assembled here, which includes Natalie Portman, Jacob Tremblay, Bella Thorne, Thandie Newton, Sarah Gadon, Kit Harrington, and Susan Sarandon. We’ll be there day one.

“Fahrenheit 11/9”

Anyone else surprised that it took Michael Moore almost two whole years to release his first film explicitly about the 2018 election and the unrest it unearthed in this country and around the world? One of Roger’s favorite documentarians, Moore is unapologetically releasing this Trump takedown in time to influence the mid-term elections in November. I’ve been a little cold on his last few works, but this project feels like it could bring back the heat of his best projects, films like “Roger & Me” and “Bowling For Columbine.”

“Gloria Bell”

Sebastian Lelio made waves last year with two films at TIFF 2018, the acclaimed “Disobedience” and the future Oscar winner for Best Foreign Language Film, “A Fantastic Woman.” A late announcement to this year’s line-up he returns with what could easily be another Oscar vehicle for star Julianne Moore in this remake of Lelio’s own 2013 film, which starred Paulina Garcia (and you really should see if you haven’t yet). A Moore star vehicle is always worth a look—after all, “Still Alice” premiered here in 2014 and earned one of the best living actresses her first Academy Award.

“Green Book”

Peter Farrelly, the auteur behind “Dumb & Dumber” and “Hall Pass,” may not seem like an obvious choice for a TIFF dramatic premiere, but here we are. The filmmaker helms this true story about a white bouncer driving a black pianist on a tour in the 1960s in the South. Hopefully, this is not mere manipulation but a film with something to say about race 50 years ago and today. The most promising thing about it? The two leads are played by Oscar winner Mahershala Ali and shoulda-been-an-Oscar-winner-by-now Viggo Mortensen.

“Greta”

He may not get the attention he did in the years after “The Crying Game,” but we’re here to tell you that a Neil Jordan movie is always something to which cinema fans should pay attention. Even some of his recent, less-seen films like “Ondine” have been interesting. And this thriller pairs the filmmaker with the timeless Isabelle Huppert, who plays a widow who befriends a younger woman, played by Chloe Grace Moretz. That’s about all we know and that’s all we want to know. A Neil Jordan thriller starring Isabelle Huppert? Sign us up.

“Halloween”

Is it really time for another remake of arguably the best horror film of all time? It hasn’t really been that long since the two Rob Zombie movies, has it? And what more could really be added to the original saga? Wait, you say Jamie Lee Curtis is returning? And David Gordon Green is directing? And Danny McBride is co-writing?!?! What the HECK is this going to look like? Even if it’s a failure, it’s almost certain to be an interesting one. Yeah, we can’t wait either.

“Her Smell”

Alex Ross Perry reunites with the star of his best film, “Queen of Earth,” Elisabeth Moss, for this mysterious project that casts the “Handmaid's Tale” Emmy winner as a “self-destructive punk rocker” (there are really no other kinds of rockers in movies). Perry found a different angle of Moss’ repertoire in their previous collaboration, and we’re hoping he does the same here.

“High Life”

Just as Xavier Dolan is doing with “Donovan,” Claire Denis, the recipient of this year’s Ebert Tribute, bypassed the European festivals for Toronto as the place to launch her English-language debut, which has one of the most intriguing plot summaries we’ve ever read: “A father and his daughter struggle to survive in deep space where they live in isolation.” The father? Robert Pattinson. The cast also includes Juliette Binoche, Andre Benjamin, and Mia Goth, but it’s the potential that it feels like Denis could tap in Pattinson that makes this one of the most exciting projects of TIFF 2018.

“Hold the Dark”

Jeremy Saulnier made waves with his previous two thrillers, “Blue Ruin” and “Green Room,” and he’s back with another adventure to the dark side in this adaptation of William Giraldi’s book by regular Saulnier collaborator Macon Blair. The star this time around is the phenomenal Jeffrey Wright, joined by Alexander Skarsgard, Riley Keough, James Badge Dale, and Blair in this thriller set in in the icy elements of the Alaskan wilderness. We can’t wait. (Note: Dale is also in another TIFF World Premiere called “The Standoff at Sparrow Creek,” which we’ll be covering. Nice to see him doing so well.)

“If Beale Street Could Talk”

How do you follow up the best Best Picture winner in years? What could Barry Jenkins possibly do after “Moonlight”? We’ll find out early next week when this adaptation of the James Baldwin novel hits Toronto for this highly-coveted World Premiere. It’s hard to put into words how excited most cinephiles are for this flick, so we’ll just the trailer do the talking for us:

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“In Fabric”

Peter Strickland’s “The Duke of Burgundy” made waves at TIFF back in 2014, and it’s taken four years for him to return with a just-as-kinky follow-up, this one about a cursed dress. There are echoes of Argento and Hammer in what promises to be one of the most divisive and truly strange World Premieres of TIFF 2018. It feels like one of the films this year that people will be talking about, love it or hate it.

“Jeremiah Terminator LeRoy”

Justin Kelly’s recent output has been a little mediocre (sorry, “I Am Michael” and “King Cobra” fans) and I wasn’t a big fan of the documentary “Author: The JT Leroy Story” about the fascinating story of JT Leroy, but there’s something about this that feels like the perfect blend of filmmaker and subject matter that has us intrigued. Of course, that intrigue is enhanced greatly by the participation of Laura Dern and Kristen Stewart in the lead roles. Like most logical people on Earth, we love both of them.

“The Land of Steady Habits”

Speaking of women we love, it’s been too long since Nicole Holofcener had a new movie, but her latest drops on Netflix before TIFF is even over, landing on the service on 9/14. The writer/director of “Enough Said” and “Please Give” directs Ben Mendelsohn, Edie Falco, Bill Camp, Elizabeth Marvel, and Connie Britton—an ensemble that could be called Actors We Love. We’ll have a full review and an interview with Holofcener right after the World Premiere.

“Loro”

Hiding in the Masters program is the latest dramedy from the writer/director of the Oscar-winning masterpiece “The Great Beauty.” Paolo Sorrentino’s latest reunites him with star Tony Servillo, the man who anchored his best films, “Beauty” and “Il Divo.” His last film, 2015’s “Youth,” was something of a disappointment, but this feels like an obvious bounceback flick, especially since it’s about Silvio Berlusconi, and Sorrentino excels at capturing insecure men in positions of extreme power.

“Mid90s”

Jonah Hill’s directorial debut is what sounds like a personal project in that it’s about a 13-year-old kid in L.A. in the titular decade when, well, Hill would have been a 13-year-old kid in L.A. Hill wisely avoids the likely draw of casting his celebrity buddies for an ensemble of largely fresh faces, allowing his involvement to be the major draw. Can he transition from being in front of the screen to becoming a major player behind it? We’ll know soon.

“Outlaw King”

The Opening Night film has been a movie that could most politely be described as “meh” over the last few years. Think “The Judge,” “The Magnificent Seven,” and last year’s “Borg vs. McEnroe.” But this year’s entry holds more promise than any of those because it’s directed by a Scotsman who has yet to make a bad film, David Mackenzie, the director of “Hell or High Water” and “Starred Up.” Reuniting Mackenzie with “Hell” star Chris Pine, this is a period piece about Robert the Bruce defeating the English army. Could this be Pine and Mackenzie’s “Braveheart”? Or will it fall victim to the TIFF Opening Night curse?

“Skin”

There are a few films at this year that seem to be speaking to the moment of race relations in 2018, including the aforementioned "Green Book," the adaptation of “The Hate U Give” and this drama about a skinhead (Jamie Bell) who decides to leave his life of hateful violence behind. Co-starring Danielle Macdonald, Bill Camp, and Mike Colter, and produced by the always-interesting Oren Moverman (“The Messenger”), this is one of those projects that feels like it could easily sneak up on people in Toronto.

“Widows”

There will be no sneaking for Steve McQueen’s long-anticipated follow-up to “12 Years a Slave.” Again, much like we did with Jenkins’ film above, it feels like the trailer can do all the hyping we possibly could in words. This movie looks incredible. Let’s hope it lives up to the 2:24 below:

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ulyssessklein · 6 years

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Gregg Allman – The Midnight Rider Crafting Music His Way!

By: Arlene R. Weiss

The legendary Gregg Allman – photo credit: Patricia O’Driscoll

Legend, music pioneer, and amazing blue-eyed soul stylist Gregg Allman can proudly lay claim to being one of the all time great, influential, landmark artists in rock history.

After some forty five years making music with his esteemed Allman Brothers Band, the ABB retired last October 2014 after playing an acclaimed slate of finale shows at New York’s Beacon Theater.

Allman, however is one exuberant musical road warrior and has no plans whatsoever to ever retire.

In keeping with his storied musical roots, Allman, much like the many venerable blues and R&B artists he has performed with and been influenced by, is busier than ever crafting new and exciting music projects.

Allman is a supreme solo artist who has written, recorded, and performed some of his most stellar craftwork on his own. He has enjoyed a highly successful solo career since 1973, launched by The Allman Brothers Band’s rejection of one of his most nuanced and emotionally rich songs, the enigmatic “Queen Of Hearts”. That rejection spurred Allman to go into the studio and cut his own debut solo album, the R&B and soul imbued, deeply personal “Laid Back”. He’s since released numerous acclaimed gold and platinum solo albums and toured with his solo groups, simultaneously while writing, recording, and performing with The Allman Brothers Band.

Gregg Allman -photo credit: sidneysmithphotos.com

These days, Allman now very much looks forward to dedicating all of his time towards songwriting, recording, and performing with his new eight member solo band. The current lineup, which Gregg expounds as the best ensemble he’s assembled yet, includes bassist Ron Johnson, drummer Steve Potts, keyboardist Ben Stivers, saxophonists Jay Collins and Art Edmaiston, Dennis Marion on trumpet, former ABB percussionist Marq Quinones, and Musical Director, guitarist Scott Sharrard.

Gregg lights up the stage with his band, while eloquently strumming his acoustic guitar, crafting richly nuanced textures on his beloved Hammond B3, and singing out his heart with sublime phrasing and soulful, purposeful emotion.

Last year some of music’s most esteemed artists honored and paid tribute to Allman at a special January 10, 2014 concert held at Atlanta’s historic Fox Theater. That concert, which featured Vince Gill, Jackson Browne, Robert Randolph, John Hiatt, Warren Haynes, Derek Trucks, Trace Adkins, and Dr. John was released as the sterling CD/DVD All My Friends: Celebrating The Songs & Voice Of Gregg Allman.

Allman is especially proud and exuberant discussing his new live CD/DVD, Gregg Allman Live: Back To Macon, GA, recorded and filmed live at Macon, Georgia’s Grand Opera House, which will be released August 7, 2015 on Rounder Records.

The recording showcases dynamic live performances and interpretations of some of Gregg’s most stunning solo repertoire including “Queen Of Hearts” and “I’m No Angel”, and Allman’s superb readings of friend Jackson Browne’s “These Days”, Wilson Pickett’s “I Found A Love”, and Ray Charles’ “Brightest Smile In Town”. Allman Brothers Band signatures “Melissa”, “One Way Out”, “Midnight Rider”, “Don’t Keep Me Wonderin’”, “Ain’t Wastin’ Time No More”, “Midnight Rider” and “Statesboro Blues” receive Gregg’s solo band’s interpretations, re-arranged and orchestrated featuring his band’s own musicality and its horn section to reflect an R&B groove.

“They really make things swing”, as Allman joyfully relates about his band’s virtuosity, and his ABB songs “have a sway to them now, and I enjoy that.”

Allman is also proud to be highlighted as a very special guest of Lynyrd Skynyrd, performing “Tuesday’s Gone” on their new double live CD/DVD, Lynyrd Skynyrd – One More For The Fans, coming out July 24, 2015, which was also filmed and recorded at Atlanta’s Fox Theater.

Allman is currently enjoying his 2015 U.S. and European solo tour which includes July 26’s Ramblin’ Man Fair in Maidstone, U.K., July 31’s Gathering Of The Vibes in Bridgeport, CT, August 13’s Peach Music Festival in Scranton, PA, September 20’s Blues and Brews Festival in Telluride, CO, and culminating on January 21, 2016 with The Rock Legends Cruise IV departing Fort Lauderdale.

Gregg also has plans to record more solo albums, which will showcase his own songwriting, with the possibility of collaborating again with Don Was who served as Musical Director and bassist for “All My Friends” and also with T-Bone Burnett again, who produced Allman’s 2011 critically acclaimed blues album, Low Country Blues.

For Gregg Allman, the road does indeed go on forever, and he exuberantly wouldn’t have it any other way, looking forward to writing, recording, and performing his dazzling and sublime soundscapes, continuously into the future. Just like the elder statesmen rock and blues artists and friends that Allman has spent much of his life collaborating with from B.B. King and Eric Clapton, to Buddy Guy and John Lee Hooker.

Gregg Allman, the legendary blues brother and “Midnight Rider” graciously took time during his many 2015 summer show dates to fondly discuss his solo career, tour, and upcoming CD/DVD releases.

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Gregg Allman playing his Gibson SG at The Warehouse, New Orleans, LA on New Years Eve – photo credit: sidneysmithphotos.com

Arlene R. Weiss: Hi Gregg, how are you? Congratulations on your solo band’s 2015 tour, and on the August 7, 2015 release of your new live CD/DVD, “Gregg Allman Live: Back To Macon, GA” recorded and filmed live at Macon’s Grand Opera House. What resonated about this particular performance and music venue for you, that made you want to release this show? What are some of the fond, creative highlight musical moments of that night that are captured in the release?

Gregg Allman: First off, let me say how proud I am of this album. We found a groove early that night, and it took off from there. We smoked it, boy! I listened to it a few weeks afterwards, and it passed the test with flying colors.

Macon is a place that holds many, many special memories for me, and I always look forward to playing there. The Opera House is a wonderful venue. The sound is incredible, man. Highlights? Everything we played was a highlight!

Arlene: Now that The Allman Brothers Band have retired, you can now concentrate and channel all of your artistic energy, time, and songwriting towards your solo career. In what ways does being able to now focus all of your creativity towards your solo career and music, inspire and affect your live performances with your solo band, your future plans to record your solo material, and especially your songwriting?

Gregg Allman: Well, I’ve had a solo career since 1973, so that hasn’t changed at all. The only thing that is different is that I don’t have to bounce back and forth between bands anymore.

I couldn’t be happier about how the Allman Brothers wrapped it up. We went out on top, man, and we’re all proud of that. Forty five years is a long, long time for any band to be together and play as well as we did. As for my solo band, things are great. There is only one cook in the kitchen, if you know what I mean, so there is no drama at all. We’ve developed real chemistry and I’m really enjoying what I’m doing now.

Gregg Almann – photo credit: sidneysmithphotos.com

Arlene: As a songwriter, over the years, how did you decide which of your songs you wanted to record and perform with The Allman Brothers Band, and which ones you wanted to record and perform as a solo artist? Was it a matter of your own choice, circumstance as in the ABB rejecting some of your songs, or some of both? Are there any songs of yours that the ABB didn’t do, that found a special place in your heart and in your solo career? Which of your songs are you proudest of and why?

Gregg Allman: A little bit of both, actually. You see, my solo career was launched by rejection. We were working on Brothers and Sisters, and I brought in “Queen of Hearts,” a song I had been slaving over.

I thought it was pretty good, but I couldn’t get anyone to pay attention to it. Finally, I pressed the issue a bit, and I was flat-out told the song didn’t say anything. Boy, that was all it took. I headed right into the studio and I started working on what would become “Laid Back”, my first solo album.

That rejection turned out to be the best thing that could have happened, and that is why “Queen of Hearts” is so important to me. As for other tunes, I’d say “Midnight Rider” is the song I’m proudest of in my career, and “Melissa” is special because it was the first song I wrote and kept, and it was my brother’s favorite.

Arlene: Your wonderful All My Friends CD/DVD which was filmed and recorded January 10, 2014 at Atlanta’s Fox Theater, and released last year featured some stellar artists in a tribute concert honoring you. You also were a very special guest of Lynyrd Skynyrd last November, also at Atlanta’s Fox Theater where you performed “Tuesday’s Gone” for their upcoming Lynyrd Skynyrd – One More For The Fans double CD/DVD coming out July 24, 2015. How did you become involved with these two projects and what were your emotions and creative experiences having so many of your peers tip their hat in praise to you and jamming with you?

Gregg Allman: I got involved with both of those projects through Michael Lehman, my manager. All My Friends was a true highlight of my latter years, no doubt. There was so much talent up on that stage it was unbelievable, man.

People were there from all stages of my career, and it is something I’ll never forget. The Skynyrd thing was very cool, as well. The original band was a special bunch, and they really loved and respected my brother.

The Brothers toured with the current Skynyrd line-up several times over the past ten years or so, and both bands had a lot of fun together, so I was honored to be part of the Skynyrd tribute. “Tuesday’s Gone” is a great tune, man, and it was the perfect song for me to sing. And with both shows being at the fabulous Fox, who could ask for more?

Gregg Allman – photo credit: sidneysmithphotos.com

Arlene: I watched a clip of you performing my favorite solo song of yours, “I’m No Angel” from your live CD/DVD. You’re in wonderfully vibrant and stellar form and your vocals are just supreme. Do you practice or do warm up exercises to maintain your legendary, soulful singing voice?

Gregg Allman: As I’ve gotten older, I’ve learned to take care of my voice. I put my vocal chords through a lot of abuse when I was younger.

Best thing I ever did was quit smoking. Man, smoking will just destroy your voice. I tell anyone who is a singer to never smoke, and if they do, to quit right now. I gargle in the shower with hot water every day, but nothing helps your voice more than a good night’s sleep. A long, deep sleep does wonders for your throat.

Click here to view the embedded video.

Arlene: Your solo band performs a blend of both Allman Brothers Band songs and songs from your solo catalogue. How do you arrange and orchestrate your ABB songs differently to reflect the different musicality of your solo band?

Gregg Allman: The biggest difference is that I have a horn section with my band, and they really make things swing. It’s more of an R&B groove, so I’ve re-arranged some of my Allman Brothers songs to better fit that sound. Songs like “Statesboro Blues,” “Don’t Keep Me Wonderin’” and “Whipping Post” have a sway to them now, and I enjoy that.

Arlene: What are your future creative plans and projects?

Gregg Allman: I would like to do an album made up of solely my compositions, which I’ve been thinking about for some time now. The most important thing is that I plan on playing music for a long, long time. I can’t stop now, man.

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placerdiario · 7 years

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The Driving Seat (2017) from TurnTheSlateProductions on Vimeo.

"THE DRIVING SEAT"

One Saturday morning, a middle aged couple decide to make love in their car in the driveway to put a spark back in their marriage – only to find it has rather the opposite effect..

Starring Janie Dee & James Lailey With Dennis Herdman

Writer/Director/Exec Producer - Phil Lowe

Producer - Alexei Slater

DoP - Adrian Brown Sound Recorder - Alastair Widgery Script Supervisor - Magdalena Drahovska Editor - Nick Saunders Production coordinator - Hugo Mitchell Hair & MakeUp Designer - Diandra Ferriera Production Assistant - Aleksandra Debska Stills Photographer - Daniel D Moses Location Management, Catering & EPK - Nigel Cassidy & Ann Cassidy Colorist - Katherine Jamieson Sound Design and Dubbing Mixers - Jack Doyle & Louis Morgan

Turn The Slate Productions & Grumpy Rabbit Halo Post Production Jungle Studios

turntheslateproductions.com/portfolio/the-driving-seat/ facebook.com/TurnTheSlateProductions/ twitter.com/turntheslatep phil-lowe.com/My_Writing.html

Selected for (the BAFTA qualifying) Aesthetica Film Festival, 2016 & (the BAFTA qualifying) London Short Film Festival, 2017 and (OSCAR qualifying) Cleveland Intl. Film Festival, 2017

Full List below:

Festivals:

1. The Smalls Film Festival UK, 2016 2. Houston Comedy Film Festival USA, 2016 3. Aesthetica Film Festival UK, 2016 (BAFTA Affiliated) 4. Crystal Palace Intl. Film Festival UK, 2016 5. Los Angeles Comedy Festival USA, 2016 6. In The Palace Intl. Short Film Festival BULGARIA, 2016 7. London Short Film Festival UK, 2017 (BAFTA Affiliated) 8. British Shorts, Berlin GERMANY, 2017 9. We Like Em Short Film Festival USA, 2017 10. Cleveland International Film Festival USA, 2017 (OSCAR Affiliated) 11. Garden State Film Festival USA, 2017 12. Taos Shortz Film Fest USA, 2017 13. London-Worldwide Comedy Short Film Festival UK, 2017 14. Sunderland Shorts Film Festival UK, 2017 15. Crossroads Film Festival USA, 2017 16. The European Independent Film Festival FRANCE, 2017 17. Newport Beach Film Festival USA, 2017 18. 20 Min Max International Short Film Festival GERMANY, 2017 19. One 2 Arts Festival UK, 2017 20. Hollywood Comedy Shorts Film Festival USA, 2017 21. Southside Film Festival USA, 2017 22. East End Film Festival UK, 2017 23. The Shortest Nights UK, 2017 24. Lviv International Film Festival UKRAINE, 2017 25. Macon Film Festival USA, 2017 26. Ischia Film Festival ITALY, 2017 27. Jefferson State Flixx Fest USA, 2017 28. Dinard British Film Festival FRANCE, 2017 29. Heart of Gold Film Festival AUSTRALIA, 2017 30. Way Down Film Festival USA, 2017 31. Isle of Man Film Festival UK, 2017 32. (Danny Boyle`s) Shuffle Festival UK, 2017 33. Norwich Film Festival UK, 2017 34. Liverpool Independent Film Festival UK, 2017 35. DC Shorts Film Festival USA, 2017 36. Colchester Film Festival UK, 2017 37. Pittsburgh Shorts Fest USA, 2017 38. All Lights India International Film Festival INDIA, 2017 39. Thunderdance Film Festival UK, 2017 40. Rome International Cinefest ITALY, 2017

Awards/Nominations:

Smalls Festival: Nominated, Best Comedy

Crystal Palace Intl. Film Festival: Nominated, Best Comedy

Houston Comedy Film Festival: Nominated, Best Actress & Best Cinematography

London Worldwide Comedy Short Film Fest: Bronze Medal

Taos Shortz Film Fest: Honourable Mention, Comedy

Sunderland Shorts Festival: Special Jury Mention & Runner up UK National Films Category

We Like Em Short Film Festival: Nominated, Best Actor & WINNER ‘Shortie’ Audience Choice Award

Dinard Film Festival: Shortcuts Competition WINNER Hitchcock Audience Award.

Isle of Man Film Festival: WINNER, Best Comedy Short.

Danny Boyle`s Shuffle Festival: Nominated, Best Short Film

Thunderdance Film Festival: Runner Up

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bighousela · 7 years

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@travis_showtime @GravitasVOD @XYZFilms @MaxItMagazine facebook.com/jackdawfilm

Jackdaw: A Short Film

Official facebook page: https://www.facebook.com/jackdawfilm

Travis Champagne Director | Writer | Editor @imdb http://www.imdb.com/name/nm1888594

Follow on vimeo: https://vimeo.com/primadonnafilms

Follow on twitter: https://twitter.com/travis_showtime

Follow on instagram: https://www.instagram.com/primadonnafilms/

travischampagne.com http://primadonna.film

Directed by: Travis Champagne Written by: Stephen Kinigopolous & Travis Champagne Produced by: Tyler Corie, Donna Dean Champagne Associate Producers: James Crawford & Stephen Kinigopolous Director of Photography: Jordan Bradley Edited by: Travis Champagne Sound Design: Brian Dean Hoff VFX: Andrew Larson Starring: Gary Smith, Tishuan Scott, Ryan Broussard, Rahmin Norwood & Mykle McCoslin Shot on Red Dragon. Edited in Adobe Creative Cloud. Final Mix at Art House Sound.

Synopsis: A father mourns on the one year anniversary of his wife's disappearance. Awards Oxford American Southern Made Film Louisiana Film Prize Top 5 Film Louisiana Film Prize Founders Circle Nominated Way Down Film Festival - Best Overall Film Bronze Lens Film Festival - Best Short Film Hill Country Film Festival - Best Texas Short Official Selections Orlando Film Festival Dallas Video Fest Adirondack Film Festival Miami Short Film Festival - Semi Finialist Charlotte Film Festival El Dorado Film Festival Greater Cleveland Urban Film Festival Bronze Lens Film Festival Hollyshorts Film Festival Macon Film Festival Texas Filmmakers Showcase San Antonio Film Festival San Francisco Black Film Festival Literally Shorts Film Festival Sunderland Shorts Film Festival Middle Coast Film Festival Hill Country Film Festival Louisiana International Film Festival Boomtown Film Festival Tally Shorts Film Festival Oxford Film Festival Fargo Film Festival Southern Screen Pontchartrain Film Festival Louisiana Film Prize

Travis Michael Champagne Director Biography

A Louisiana native, Travis received his first taste of filmmaking while playing Sean Penn's son Tom Stark in All The Kings Men. Falling in love with behind the camera, Travis hung up his acting boots and began the uphill climb into the world known as Directing. Self taught, minus a few semesters at the Academy of Art University in San Francisco. Travis has directed three shorts: The Sound of Trains starring Daniel Baldwin, The Out and Out's starring Jonathan Bennett, and now Jackdaw which stars 2013 SXSW Best Actor Tishuan Scott.

ONE'S TO WATCH: DIRECTOR TRAVIS CHAMPAGNE

Travis Champagne's short film Jackdaw is traveling festival circuits and winning awards although this is nothing new to the young director whose previous short film "The Out and Outs" starring Mean Girl's Jonathan Bennett and popular Australian TV Show Neighbour's Jordy Lucas won the audience award at the Seattle Shorts Film Festival. According to MTV's Katie Calautti regarding Champagne's most recent film, "Bluesy tunes, bayou vistas and dark plot lines abound. The ever building slow burn that isJackdaw". Jackdaw most recently screened at Fargo Film Festival and is on the lineup for the upcoming Hill Country Film Festival in Fredricksberg. If you can't make a festival screening, you can look for it on ITunes as part of the distribution deal it scored with Academy Award winning short film distributor Shorts HDbecause of its success at the Louisiana Film Prize.One thing is for sure: Champagne is a budding director you want to keep your eye on and some of the best in the business are jumping at the chance to work with him!

MTV: WE’RE CALLING IT NOW: THE NEXT BIG FILMMAKER IS COMING FROM THIS FESTIVAL

If you think the trailer’s stressful, prepare yourself for the ever-building slow burn that is “Jackdaw,” which focuses on Shane (Gary Smith), a man grappling with single fatherhood in the aftermath of his wife’s mysterious disappearance. “’No Country for Old Men’ was my main inspiration,” says Champagne.

And it shows – as does Champagne’s less overt influence from the first season of “True Detective.” Bluesy tunes, bayou vistas and dark plot lines abound. “I’m not going to say ’True Detective’ isn’t definitely an inspiration of mine, because I’ve seen that first season three times and I definitely think about it a lot when I write,” says Champagne, of the comparisons his film has garnered. “To even be remotely considered in that realm of TV brilliance is a win.”

Prize-goers have come to expect memorable performances out of Champagne’s films – “Jackdaw” includes a creepy turn by Ryan Broussard as the main suspect in the unsolved case, along with an impressively imposing showing as chief investigator from Tishuan Scott, and Champagne’s 2014 Prize entry “The Out and Out’s” starred aforementioned “Mean Girls” actor Bennett, who – coincidentally – was first recommended to Champagne by Gretchen Wieners herself, Lacey Chabert. If you’re down with moody, immersive filmmaking, you’ll want to keep an eye on Champagne. Author: katie calautti

BREAUX BRIDGE NATIVE'S JACKDAW MAKES LAFP TOP 20

Texas filmmaker Travis Champagne has deep roots in Louisiana that keep him coming back. The Breaux Bridge native first left Louisiana in 2001 when his family moved to Houston. But he returned three years later to attend Louisiana State University. Aspirations to work in film took him to California and Texas. But for the past few years he’s been drawn back to his home state for a north Louisiana film competition he says is unlike any other. This year is no different.

Champagne, 29, will be among 20 finalists showcasing short films at the Louisiana Film Prize Oct.1-4 in Shreveport. The festival awards one of largest cash prizes for a short film — $50,000. Champagne — who founded The Woodlands production company Red Belt Studios— was one of 125 filmmakers who entered the competition.

His film, “Jackdaw,” is about a father coping with the disappearance of his wife on its one-year anniversary.

Champagne said though the woman’s disappearance is at the heart of the film, he hopes audiences take away more than the storyline and see the film’s deeper metaphorical meaning.

“People who’ve watched it, assume it’s only about a kidnapping and finding out the details of her disapearance,” he said. “But what I think is important is the loss of a mother and wife and (the father and son) realizing the importance of each other after such a tremendous loss.”

The greatest part of film is the journey, Champagne said. “With this particular journey, it ends in a way the story still goes on,” he said. Champagne collaborated with fellow Film Prize veteran, Stephen Kinigopoulos, a New Orleans filmmaker who recently moved to Maryland.

The two met at the 2013 Film Prize.

Kinigopoulos’ “Last Call” was among the Top 20 films being screened that year, as was Champagne’s “The Sound of Trains.” “I just really enjoyed his film and his passion for filmmaking,” Champagne said.

So as Champagne began his script for this year’s entry, he reached out to Kinigoupolos to see if he wanted to be a part of it. It turned out, Kinigoupolos had a script of his own and a collaboration ensued. “We kind of merged the two and made a baby called ‘Jackdaw,’” Kinigoupolos said. He said their concepts and visions were different but complemented each other.

Champagne found ways to engage the audience, while “I loved to build characters,” Kinigoupolos said. The combination resulted in an amazing film, he said.

Author: Michele Marcotte

Awards and Screenings:

Louisiana Film Prize Shreveport, LA October 3, 2015 World Premiere Top 5 Film, Founders Circle Ponchatrain Film Festival November 7, 2015 Official Selection Southern Screen Film Festival Lafayette, Louisiana November 22, 2015 Official Selection Oxford Film Festival Oxford, Mississippi February 19, 2016 Mississippi Premiere Official Selection Fargo Film Festival Fargo, North Dakota March 17, 2016 North Dakota Premiere Official Selection Boomtown Film Festival Beaumont United States February 27, 2016 Texas Premiere El Dorado Film Festival El Dorado United States Arkansas Premiere Sunderland Shorts Sunderland United Kingdom July 2, 2016 International Premiere TBD Middle Coast Film Festival Bloomington United States July 30, 2016 Indiana Premiere Hill Country Film Festival Fredricksburg United States April 28, 2016 San Francisco Black Film Festival San Francisco United States June 18, 2016 California Premiere Louisiana International Film Festival Baton Rouge United States April 15, 2016 Tally Shorts Tallahassee United States February 20, 2016 Florida Premiere

Jackdaw (Official Trailer)

#Vimeo #red #dragon #nocountryforoldmen #louisiana #shreveport #houston #film #adobe #bighousela

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olivierdemangeon · 7 years

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Synopsis : Quand une femme dépressive se fait cambrioler elle trouve une nouvelle motivation à sa vie en traquant ses voleurs avec l’aide de son voisin acariâtre. Mais bientôt cet étrange duo va devoir affronter un tas de criminels.

Origine du film : États-Unis Réalisateur : Macon Blair Scénariste : Macon Blair Acteurs : Melanie Lynskey, Elijah Wood, David Yow, Jane Levy, Devon Graye Musique : Brooke Blair, Will Blair Genre : Comédie, Drame, Policier Durée : 1 heure et 33 minutes Date de sortie : 24 février 2014 (États-Unis) Année de production : 2017 Sociétés de production : Film Science, XYZ Films Distribué par : Netflix Titre original : I Don’t Feel at Home in This World Anymore Notre note : ★★★☆☆

Notre commentaire : “I Don’t Feet at Home in This World Anymore” est un thriller écrit et dirigé par Macon Blair, qui effectue avec ce métrage ses premiers pas à la réalisation. Macon Blair qu’on avait pu voir dans “Blue Ruins” (2013). Les acteurs principaux sont Melanie Lynskey, qu’on a pu voir dans “The Intervention” (2016), Elijah Wood, qu’on a pu voir dans “The Trust” (2016), David Yow, plus connu comme membre d’un groupe de musique nommé Scratch Acid and The Jesus Lizard, Jane Levy, qu’on a pu voir dans “Dont’t Breathe” (2016) et Devon Graye, qu’on a pu voir dans “13 Sins” (2014).

Le film a été diffusé en avant-première mondiale lors du Sundance Film Festival le 19 janvier 2017, où il a remporté le Grand Prix du Jury dans la catégorie U.S. Dramatic. Il a ensuite été diffusé par Netflix à partir du 24 février 2017. La production a débuté l’année précédente, en avril 2016, lorsque Melanie Lynskey et Elijah Wood ont été enrôlé dans le film. Le tournage a démarré durant ce même mois d’avril 2016 à Portland dans l’Oregon.

L’histoire proposée nous invite à suivre Ruth Kimke (Melanie Lynskey), aide-soignante dans un service de soins palliatifs, qui se retrouve dans un tourbillon de violence, après s’être faite cambrioler. Pensant pouvoir récupérer ses affaires simplement, elle va demander de l’aide à Tony (Elijah Wood), un voisin taciturne, légèrement à l’ouest, passionné par les arts martiaux à la sauce manga, qui s’avère être plus ridicule qu’efficace.

Bien que la trame soit quelque peu usuelle, nous invitant à suivre deux paumés dans leurs pérégrinations et que la mise en scène apporte son lot d’humour, c’est essentiellement l’intrigue qui est soignée, car, en fin de compte, on ne fait que se demander où tout cela peut nous emmener durant les deux tiers de la durée du métrage. L’affaire s’accélère subitement pour le dernier tiers dans un tourbillon d’action sanglante, laissant quelques-uns des protagonistes sur le carreau.

“I Don’t Feel At Home in This World Anymore” nous offre, à l’instar d’un “Winter’s Bone” (2010), une vision sociale effrayante de l’Amérique profonde. Les deux principaux personnages vivant dans un quartier qui fut certainement dans les années 1980, un modèle de faubourg plaisant où vivaient les gens d’une classe sociale moyenne, mais qui aujourd’hui apparaît comme à la limite du quartier pauvre, où les maisons ne sont guère entretenues et où les habitants semblent souffrir du chômage et d’une certaine forme de pauvreté.

La distribution est dominée par les prestations de Melanie Lynskey et d’Elijah Wood. L’actrice interprétant un personnage perdu, vivant en permanence dans la déprime, qui va vivre le fait d’avoir été cambriolée comme une véritable injustice, et qui va trouver à travers l’identification des auteurs une motivation débordante. L’interprète de Frodo Bessac dans la franchise du Seigneur des Anneaux, nous livre ici un personnage tout aussi perdu que son homologue féminin. Un no life se nourrissant de films, mangas et autres délires pour se définir une personnalité vaguement mystique inspirée par une maîtrise très aléatoire des arts martiaux.

En conclusion, “I Don’t Feel at Home in This World Anymore” transcende son titre peu maniable pour offrir une histoire aux allures communes, mais dont l’intrigue captive notre attention avant de basculer dans un débordement de violence. La mise en scène est astucieuse fournissant au passage une vision sombre, voir toxique sur les normes sociales américaines. Un métrage difficilement étiquetable, à chemin entre le thriller, le drame, la comédie et le film criminel. Certaines scènes sont très drôles et l’ensemble offre un divertissement agréable.

Bande-annonce :

I DON’T FEEL AT HOME IN THIS WORLD ANYMORE (2017) ★★★☆☆ Synopsis : Quand une femme dépressive se fait cambrioler elle trouve une nouvelle motivation à sa vie en traquant ses voleurs avec l'aide de son voisin acariâtre.

#David Yow #Devon Graye #Elijah Wood #Jane Levy #Macon Blair #Melanie Lynskey

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movietvtechgeeks · 8 years

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Latest story from https://movietvtechgeeks.com/2017-sundance-film-festival-awards-happened/

2017 Sundance Film Festival awards as they happened

The 2017 Sundance Film Festival was easily one of it’s best with some very timely films that resounded with audiences. The ten days flew by along with the 119 feature films, not to mention the snow, and it ended with Jessica Williams hosting the 27 filmmaking awards.

The big award winners were a love story unlike most, A Syrian documentary along with a murder and crime mystery thriller.

It seems so long ago that Nate Parker’s “Birth of a Nations” was the winner of the U.S. Grand Jury Prize.

UPDATED 9:20 PM MST

Williams introduces Larry Wilmore, known for his role as host of Comedy Central’s critically acclaimed The Nightly Show with Larry Wilmore.

Wilmore: “Jessica Williams everybody! I am so honored to be here. There are so many amazing films.

“I do want to say, to all my Muslim brothers and sisters, even though i grew up Catholic, today i am a Muslim. Tomorrow i have to go to the airport so i’ll be Catholic again. But today… At a time when our world seems to be getting darker, uglier and more dangerous. This movie manages to be just beautiful…”

U.S. Grand Jury Prize: Documentary

Dina, directed by Dan Sickles and Antonio Santini

The directors are visibly moved, walking slowly and dazedly.

Santini: “When Dan and me started to edit, Dan’s dad passed away and we drove to Maryland to see him. At this funeral was a woman named Dina, who was crazy enough to speak up. The same year Dan’s mother also passed away. Dan had the courage to invite me to pursue this story.”

Sickles: “This is the weirdest sensation I have no spit in my mouth and I think I’m simultaneously pissing my pants. The greatness sometimes hides in the crevices we don’t pay attention to and in the people walking amongst us that we don’t see. It’s such a privilege to do what we do. I get to work with this guy every single day of my life. The person who deserves the most thanks for this is Dina herself and Scott her husband. The person who deserves the most thanks is Dina Buno and Scott levine. Two of the bravest people you’ll ever meet.

Santini: “Dina is a woman born and called different, called retarded, stabbed almost to death. And we wanted to make a film that celebrates our differences.”

For the final award of the evening, Williams introduces Peter Dinklage, known forThe Station Agent, as well as his role as Tyrion Lannister in HBO’s Game of Thrones.

Dinklage takes a handheld mic: “I’m not able to use the podium, so I will sing a song…no, no. Often when you have a film you don’t have time to see other films. So it’s so great to see so many incredible films. It’s been a great week with my jurors. Gael is the only person who can complain about the air conditioning and make is sound gorgeous. He called himself a snowflake?”

Now for the award: “The world is falling apart. We are treating others not as we would treat soursgvels. We are at a breaking point, and it’s a brilliant and hilarious ride. A wholly original tumble down the rabbit hole.”

U.S. Grand Jury Prize: Dramatic

I don’t’ feel at home in this world anymore, directed by Macon Blair

Blair: “It’s surreal to be here. My mom and my dad had a small part in this movie, and last week dad had people over to protest in D.C., and here there was a rally too. These things made me hopeful amid all the craven bullshit going on. All this fucking nonsense. These things are probably not going to affect me that much, but for the folks it will, i’m with you. Thank you so much, this is a huge honor.”

Jessica Williams: “Now it’s time to party. Let’s get effed up. Kidding. Not kidding. See you later!”

UPDATED 9:11 PM MST

Jessica Williams returns to the stage and introduces Susan Lacy, executive producer of American Masters on PBS and a director for HBO Documentary Films.

Lacy: “There’s no greater evidence that we’re living in a golden age of documentary filmmaking than the 16 films we had the privilege to screen this week. Each is brilliant in its own way. Without taking sides, this film takes us inside a complex and urgent story. For its provocative cinematography and sure-handed immersive style…”

Directing Award: U.S. Documentary

The Force, directed by Peter Nicks

Nicks: “Wow. This journey began a long time ago. I have to thank foremost my mom and dad, may he rest in peace. For raising me, I put them through a real rough sledding, and I always told myself I’d keep pushing. I couldn’t have made this film without a lot of people supporting me. I always told myself keep pushing. I fell in love with storytelling. Inspired by The Wire, a style that drew me in and i wanted to emulate. ITS and PBS… we have to give it up to everyone in this room supporting public television. It’s remarkable support that helped get this film made. The most important part of this crew is not here and that’s Linda Davis and . This is an amazing honor. I have to thank Sundance Institute who supported this project along the way. Thank you very much.”

Williams introduces Jody Hill, co-creator of two HBO series, Eastbound and Down and Vice Principals.

Hill: “From the script to the final edit, directing is all about choice. It’s a series of decisions that affect the film. She directs a film that’s extremely watchable and fiercely independent.”

Directing Award: U.S. Dramatic

Beach Rats, directed by Eliza Hittman

Hittman: “I just want to say thank you to Sundance Institute for supporting this script and supporting me in a very vulnerable moment in my life. They took me in and nurtured me. I want to thank my incredible team for supporting me. I am so honored to be called a director. I think there is nothing more taboo in this country than a woman with ambition. I’m going to work my way through a system that is completely discriminatory towards women. Hollywood, I’m coming for you.”

UPDATED 9:02 PM MST

Jessica Williams returns to introduce the U.S. Dramatic jury, including Jacqueline Lyanga, director of AFI Fest; Jeannine Oppewall, a renowned production designer and four-time Academy Award nominee whose most recent film is Warren Beatty’s Rules Don’t Apply; and Gael Garcia Bernal, who won the 2016 Golden Globe Award for his leading role in Mozart in the Jungle.

Bernal: “Hey. Yeah. it’s always nice to see you. Thank you for this invitation. I’m from mexico and from Latin America. I’m a tropical bird who freezes in air conditioning. But not in the mountains. I’m light as a snowflake. But in the air conditioning I freeze. Today especially i’m from Iraq, Iran, Syria, and I’m from many other countries as well. It’s so obvious that we’re so interdependent and interconnected and with everything we do and every moment we share with each other. In Peru there’s a ceremony, and what they tell you is to think about the mountain where you come from. And that’s also another person’s mountain as well. When you think of that in a subtle and concentrated way, you find yourself at the center of the world. I invite you on behalf of my family in Mexico, my Argentinian family, and my Colombian family, to come to Mexico. You’ll like it. Really. Okay.”

Bernal presents: “We see many images in the news, on youtube, everywhere, about war. But the world depicted in this film gives us an insight into the numbness of the battlefield. All with a very human camera.”

U.S. Dramatic Special Jury Award Cinematography

The Yellow Birds, cinematography by Daniel Landin

Landin isn’t here, but via video message, says: “I’m back in London now. I want to say thank you. I’m very honored to receive this award. We had difficult schedules but the vindication is to work with a director with a vision. It feels like a real filmmaker’s film. Have a great night. Thank you.”

Lyanga: “Sundance is a place where we come, it’s exciting to see all these new great films, and to discover new talent. We chose to honor the work of a new actor.”

U.S. Dramatic Special Jury Award for Breakthrough Performance

Chanté Adams for Roxanne Roxanne

Director Michael Larnell accepts on Adams’ behalf: “We cast her eight days before we prepared to shoot. She killed it and did everything we asked for. She’s one to watch. Thank you.”

Oppewall: “This has been a very intense experience for me. I’ve never been here before. I saw over 30 films, not just the ones in my category. I can’t believe how much great material i saw. It was a brave choice of material directed with deep feeling for a special variety of religious experience in America. About the love a young nun wants to find in the church.”

U.S. Dramatic Special Jury Award for Breakthrough Director

Novitiate, directed by Maggie Betts

Betts accepts via video message: “I’m so sad not to be there but so incredibly thankful and grateful to Sundance. I’ve had the most amazing experience. This is icing on the cake. I’m deeply grateful so thank you.”

Garcia Bernal: “I forgot. I want to invite Bridget to Mexico. Yeah. Oh my god. It’s the air conditioning.”

“A comedy, it can go in many different directions. But it requires a very good script to keep the danger in a dangerous comedy. How fantastic it is to give the Waldo Salt Screenwriting Award: U.S. Dramatic to…”

Ingrid Goes West, written by Matt Spicer and David Branson Smith

“Oh my god. I’m going to freak out right now. Thank you so much to the jurors, Dave Smith, the actors, my cast and crew. I’d like to dedicate this award to three incredible women, without whom this wouldn’t be possible. Aubrey Plaza, my Mom, who raised three kids while working and going to school at night and my girlfriend Sarah for supporting me and being my rock for these to years.”

Smith: I’ve been trying to tell stories my whole life and to have the first thing I’ve put in the world win, this means so much. Thank you.”

UPDATED 8:51 PM MST

Jessica Williams returns to the stage. “The Audience Award is super special. On an election level that’s sort of the award that Hillary Clinton won.” Exhales. “Not over it.” She introduces the U.S. Documentary jury, including French filmmaker Diego Bunuel, who is host of the National Geographic series Don’t Tell My Mother; as well as Robert Greene, a filmmaker, writer, and editor who won a special jury award at last year’s Sundance Film Festival for his film Kate Plays Christine; and Julie Goldman, who is one of the most acclaimed producers working today. Julie executive produced Weiner, which won the Grand Jury Prize at the 2016 Sundance Film Festival, and Life Itself, which is currently nominated for the Academy Award.

Greene: “I speak for the jury when i say this was an incredible honor. I love documentaries, we love documentaries.”

Goldman presents via video: “Battling the odds with fierce determination and charismatic grip. The subjects lift us off our feet.”

U.S. Documentary Special Jury Award for inspirational filmmaking

STEP, directed by Amanda Lipitz

Another big team climbs up on stage. Lipitz: “To all of the girls watching in baltimore. We never thought we’d be here. Having the girls here for those four days, Sundance truly changed their life. They went back to Baltimore with their heart filled with confidence and love. So thank you for giving them that. Being a young woman in America today is not easy. These girls show that nothing is impossible when you surround yourself with a group of powerful women so let’s keep doing that. Thank you so much.”

Bunuel: “There seems to be a unifying theme. You may not hear it in my accent but I’m French. We’re up next. I hope we’ll be able to do better. No guarantees there. The jury also wanted to recognize the team work going into making documentaries.” Bunuel presents:

U.S. Documentary Special Jury Award for Editing

Unrest, edited by Kim Roberts and Emiliano Battista

Direct Jennifer Brea accepts: “Thank you so much. I’m so thrilled to accept this award on behalf of our entire team. When I first envision a film about our community, few believed it was possible. The cinematic possibilities weren’t immediately obvious. It was in the edit that I was able to find my voice That alchemy between me and my team has been one of the most profound of my life. Want to thank our entire team. All of our many supporters and I particularly want to thank Debbie Hoffman, who is still making movies and all the filmmakers around the world with disabilities. In this moment you are here, you are heard, and you are seen. Thank you.”

Greene: “This next award means a lot to me. But first I wanted to tell a little story. I’m in this weird bubble and I sent a text to two Muslim filmmakers. One said, “keep our friend in mind because he just arrived in JFK and was detained.” I didn’t know what to do, we’re trapped and have obligations to be here. It feels strange to be in this room, though it’s a great group of people. What can we do? We can keep telling stories. There are three stories about Syria. So give it up, and keep trying. This is a weird platform to say something, but we’re all pretty shaken.”

Greene introduces “a stunning cinematic confession”:

U.S. Documentary Special Jury Award for Storytelling

Strong Island, directed by Yance Ford

“You’ll [have to] forgive me, I lost my voice the second day I got here. I’d like to thank Sundance for allowing us to participate in this festival. I congratulate all my colleagues in this competition. I hope you’ll forgive me for being brief because I do want to say something. Thanks team. I hope you are watching in Denmark. Thank you to my sister who is my hero and my partner, Amanda, who is my love. None of these people have forgot what Strong Island was about. To quote Elie Wiesel, ‘neutrality helps the oppressor, never the victim; silence encourages the tormentor, not the tormentor.’ We must interfere now. My brother would be appalled to witness what happened today at our nation’s airports. Sometimes we must interfere. That moment is now. When we leave this place we must interfere, disrupt, and prevent our nation from folding in on itself. We must stand as pillars of fire in the darkness. The time is now. Summon your courage. Gather your cameras. America needs us now more than ever. Thank you.”

“In a world of post-truth, doublespeak, and alternative facts, the jury decided to create the Orwell Award to recognize a film that reveals the truth at a time when the truth is no longer a commodity.

The Orwell Award

ICARUS, directed by Bryan Fogel

Fogel: “Wow, the Orwell award. May there be other Orwell awards at Sundance over the next four years. I have an amazing team. Thank you so much. This movie is dedicated to Grigory Rodchenkov, the whistle blower who had the courage to come forward, risk his life, and tell the truth. I hope there are more out there who will take extraordinary risks to tell the truth. I hope you get to see the film and take pride in Grigory’s courage. Thank you so much.”

UPDATED 8:32 PM MST

Jessica returns to introduce Barbara Kopple, “one of our most celebrated filmmakers for four decades,” and Taylor Sheridan, an actor, writer and director, who wrote the screenplay for Sicario and directed Wind River.

Kopple: “I wanted to let you know, and this is totally dating myself, i was at the first Sundance film festival. I was on the jury. It was really small. I was with pennebaker, wiseman and maysles. We were picked up every morning and we looked at documentaries. Suddenly at the end there were all these people we didn’t know about. And Harvey Milk won that year.” Kopple announces:

Audience Award: World Cinema Documentary

Joshua: Teenager vs. Superpower, directed by Joe Piscatella

Piscatella: “Whoa. Thank you. These films aren’t made without an amazing team” and thanks his producers. “My hope for this film is that you people will be able to see it and take Joshua’s story to inspire people to stand up in their country when their government is oppressing them.”

Sheridan presents:

Audience Award: World Cinema Dramatic

Sueño en otro idioma (I Dream in Another Language), directed by Ernesto Contreras

Contreras: “This award is significant on so many levels. But mostly it’s about acceptance. Let’s let our voices be heard.”

The audience takes a look at a montage of nominees in the U.S. Documentary and Dramatic competitions.

Kopple is back to present:

Audience Award: U.S. Documentary

Chasing Coral, directed by Jeff Orlowski

Orlowski, flanked by his team of collaborators, subjects and producers: “It is an honor to be here among talented filmmakers. I’m a newcomer to this community. Kudos to all of you. We’ve got the most amazing team in the world. Thank you guys so much. This project has been a joy to work on. Can we have a shout out for science? I don’t want this to be political because climate change should not be politicized. If you know anybody that’s skeptical of climate change, just show them this movie, please. We’ve seen the devastation happening to our planet. We don’t want to make these films. It’s something we feel we have to do. Show it to people who need to hear this message.”

The huge Chasing Coral team takes a while to file off stage. Sheridan introduces:

Audience Award: U.S. Dramatic

Crown Heights, directed by Matt Ruskin

“This all started for me five years ago when I hear and incredible story on This American Life by Anya Bourg. I thought it would make an incredibly worthwhile film. I want to thank everyone who helped me bring this film to life. I want to thank the Institute, their input was invaluable during this process Thank you very much.”

UPDATED 8:24 PM MST

Jessica returns to stage to announce the World Cinema Dramatic Jury, including Nai An, the producer of multiple films by Lou Ye, including Spring Fever; Athina Tsangari, a celebrated director with two films—Attenberg and Chevalier—that were chosen as Greece’s submissions to the Academy Awards; and Sonia Braga, a world-renowned actress who started her career in Brazil. She was nominated for a Golden Globe Award for her performance in Kiss of the Spider Woman.

Athina: “It was really invigorating. It makes sense to watch these films in this festival, especially with what’s going on around us. Cinema is a resistance zone. And i’m proud to be part of this. Also we didn’t write long speeches, we’re very minimal.”

Tsangari announces.:

World Cinema Dramatic Special Jury Award for Cinematography

Axolotl Overkill, cinematography by Manu Dacosse

Manu isn’t present, but sends thank you via video message: “I want to thank the jury and my German team who really helped me. Have a nice evening and enjoy your party.”

Sonia Braga: “It’s great to be back after all these years. I missed the place. And to be allowed to be a part of this wonderful group of people. It makes me a happier person and makes me love movies more than ever. Something special happens here.” Braga announces:

World Cinema Dramatic Special Jury Award for Cinematic Vision

Free and Easy, directed by Jun Geng

Through a translator, Geng says: “It’s amazing It’s truly amazing for me. Honestly this is a very long journey – I flew 13 hours from a similar freezing cold from China. This is my lucky day and I’m grateful to the jury members and to all of you. I’d also like to thank my family, production team and crew members for the freedom of expression in filmmaking.”

An announces:

World Cinema Dramatic Special Jury Award for Screenplay

Pop Aye, written by Kirsten Tan

Tan isn’t present, but sends a video greeting: “Thank you very much for the jury award, thank you for the jury members and the amazing Sundance team. This is a historic win for our tiny, tiny country. Ultimately we’ll realize we’re not all that different. I’ll try to bridge walls now more than ever. Thank you.”

Tsangari returns:

Directing Award: World Cinema Dramatic

God’s Own Country, directed by Francis Lee

Lee: “I made a little film about where i grew up and where my dad is a sheep farmer. He’s be very glad I think. All i wanted to do was play here. So that’s been really cool. I want to thank the BFI gave me a lot of money to mess around with sheep. Thank you.”

Braga announces:

World Cinema Grand Jury Prize: Dramatic

The Nile Hilton Incident, directed by Tarik Saleh

Saleh: “Sundance is by far the best festival in the world. I want to thank my team, my partner, and my daughter, and you Fares because you’re the best fucking actor in the world. I want to share an anecdote that happened to me today. I’m always kept in the room in the airport especially after 9/11. They’ve always been polite to me. But something special happened to me today, because i forgot my passport in LA in the hotel. I thought i was not going to make it here. I told the security guy that i have a film in Sundance and have to be at the awards show tonight. And he said i’m going to make sure you’re on that plane. It’s not the majority that voted for him, i’m just going to say that.”

UPDATE 8:02 PM MST

Jessica Williams is back on stage and introduces Bridget Everett to announce the NEXT Audience Award.

“Hello Sundance. It’s so cool to be here.” Everett opens her cloak to show Barry Manilow T-shirt and glittery fanny pack. “This is Barry! Sometimes you have to bring your family with you. I’ve met so many beautiful and inspiring people. Before I came out here I got to meet Gael Garcia Bernal and the blood hasn’t come back to my thighs yet. He’s so beautiful he twinkles like one of those people in Twilight. I want to thank all the people who kept us apart until now.”

NEXT Audience Award Presented by Adobe goes to:

Gook, directed by Justin Chon

“Sorry for my Justin Bieber hair. I ran out of hairspray. At every screening during the festival I’ve talked about diversity and a lot of it’s really been just talk. I feel the most effective way I can make a difference is for me to create, so this is my two cents to the community of creators. I’m in awe that I’m even here. This is the pinnacle of independent filmmaking. Thank you for allowing us to showcase our film here.”

Jessica announces the World Cinema Documentary jury, including Carl Spence, who served as director of the Seattle Film Festival. Also on the jury are Marina Stavenhagen, a screenwriter and film promoter, as well as Lynette Wallworth, an acclaimed Australian artist and filmmaker.

“This has been a wonderful week, we thank you very much Sundance FIlm festival for this amazing selection of films,” Stavenhagen says. “Want to celebrate the talent and diversity of the filmmakers at the festival. We firmly believe that film and art should speak on behalf of those who have no voice.”

Marina Stavenhagen announces��

World Cinema Documentary Special Jury Award for Excellence in Cinematography

Machines, cinematography by Rodrigo Trejo Villanueva

Director Rahul Jain accepts the award on behalf of Rodrigo.

“Rodrigo, this is for you. I wish you were here my brother. Am I allowed to go political here? The smell in the detention center at the airport is very unlike here. It’s not fun. You feel like a rat. Now many people are going to have to smell the smell of fear. This has been stupefying being here. When you go to a place to learn about a place that is far from your sphere of influence, it says something about you. I don’t think a filmmaker can ask for anything more from a festival. Thank you.”

Carl Spence introduces…

World Cinema Documentary Special Jury Award for Commanding Vision:

Motherland, directed by Ramona S. Diaz

“Thank you. My goodness Commanding vision,” Diaz says. “Tonight I’m thinking of the women who gave us access to their lives. They trusted us and I’m thinking of them tonight. I’ma product of Sundance through and through. Thank you so much. It wouldn’t have been possible without my two comrades in arms, two women.” (Editor and DP)

Lynette Wallworth: “Some of these filmmakers challenged history, and whose history we’re allowed to know.” She presents:

World Cinema Documentary Special Jury Award for Masterful Storytelling

RUMBLE: The Indians Who Rocked The World, directed by Catherine Bainbridge and Alfonso Maiorana

Bainbridge: “We’d like to give the talking to our exec producer and my husband, Ernest Webb, who guided this whole journey. We want to give a shout out to all the indigenous experts and historians and musicians involved in making this film. It was not just us.”

Stavenhagen returns to the podium. “A fully realized and honest portrait that reframes and uncovers history, finding missing fragments to tell the real story of Winnie Mandela.” Stavenhagen announces:

Directing Award: World Cinema Documentary

WINNIE, directed by Pascale Lamche

Lamche: “I could swear this is wrong. I literally can’t believe this. I have to say that my partner Peter with whom i began this whole thing, who ten years ago said to me, he was the one tangled up in that wire and holed up in solitary confinement for six months as a kid. He told me that the film you need to make about south africa is about Winnie Mandela. He died during the making of this film. So this is for Peter and Winnie and for those who know that history is not made by great men. Thank you very much Sundance. Every film here is fantastic and I just can’t believe we’ve won this. Thank you very much”

Wallworth returns to the podium: “We didn’t have to debate. This extraordinary film lifted us and carried us and dropped us into a place unlike any other film. A wholly accomplished work of art with powerful cinematography and heroes who exhibit humanity and bravery and impossible circumstances. It matches the commitment of the filmmakers with the courage of those who have become first responders.” Wallworth announces:

World Cinema Grand Jury Prize: Documentary

Last Men in Aleppo, directed by Steen Johannessen and Firas Fayyad

Fayyad: ““Two years. Brave cinematographer. We are Syrian. We are not ashamed. We do our best to fight for the freedom of speech, for humanity, for justice. We do our best to change for the best. I trust the people in the U.S. can change, and fight like we fight. Before i came to Sundance i was telling my close friend, the fish eyes helped to change everything. Because we believe in each other we will stand for each other. We need justice, and justice, and justice.”

Johannessen: I just want to send my great thanks to our photographers in Aleppo. When you see the film you’ll see that they risk their lives many times. Want to send out a plea to some of you who are part of the American industry. We want to show this film here. I hope there’s someone out here who will help us get it out there.”

UPDATED 7:36 PM MST

Festival Director Cooper takes the stage.

He thanks the staff of the Sundance Film Festival. And the volunteers, 2,068 strong.

Now announcing the 100 Club, those volunteers who donated 100 hours of their time during the festival, as well as the annual Gayle Stevens Volunteer Award, given to a volunteer who has demonstrated a long-standing passion and commitment to the work of the Institute. This year’s award was given at the start of the Festival and it went to Marlene Thibault who has been a volunteer for 19 years.

“One more quick thank you to our jurors who brought open-minded dedication to this process,” Cooper says. “An inauguration. A woman’s march. Cyber attacks. Power outages. Snow at record levels. To power outages, to cyber attacks, we’ve all been changed. We’ve formed a community bound tighter by the artists we support. Our strength is in our numbers, our power is in our ideas.”

Cooper introduces Trevor Groth.

He announces the Winner of the Alfred P. Sloan Feature Film Prize

Marjorie Prime, directed by Michael Almereyeda

Groth then announces the Short Film Award winners, which were announced earlier this week.

UPDATED 7:32 PM MST

Jessica Williams introduces Sundance Institute Executive Director Keri Putnam:

“Thank you. It’s been so wonderful to stand shoulder-to-shoulder with all of you in a creative community like this for these 10 days, really feeling the power of storytelling. As I’ve heard the news from outside Park City, I am more convinced than ever that Independent perspectives in film and documentary matter—because they bring humanity and dimension to our understanding of the world at a time when binary and divisive rhetoric and actions are too often prevailing. The founding values of Sundance Institute—upholding free expression, amplifying diverse voices, and affirming the power of artistic creativity to propel us forward—feel more important now than ever. I hope we’re going to take the amazing energy we felt at the March last Saturday, but also feel in theaters, and in the conversations I’ve had about the films – and take it out of the festival to advocate together for the culture we want to see.”

Putnam introduces the Sundance Institute Global Filmmaking Awards, which were announced earlier in the week.

The winners are:

From Iran, Massoud Bakhshi for Yalda.

From France, Maimouna Doucoure for Mignonnes.

From Brazil, Fernando Coimbra for The Hanged.

From Poland, Agnieszka Smoczynska for Deranged.

We also announced the Sundance Institute / NHK Award, which went to Babak Anvari, from the UK, for I Came By.

“The international award winners are such an important part of our community,” Putnam says. “I’d like to acknowledge the filmmakers from Muslim-majority countries that participated in this year’s festival.”

Putnam stops as the crowd stands and cheers.

“We know that closing our borders to these and other international artists will stop the flow of information so vital to the artistic community. Here’s to the artists who are here with us.”

Last Sunday, at the Sundance Institute / Amazon Studios Producer Awards, the award for documentary feature producer went to Joslyn Barnes for Strong Island.

The award for narrative feature producer went to Anish Savjani and Neill Kopp for I don’t feel at home in this world anymore.

I am so honored and proud to be part of this community.

UPDATED 7:26 MST

Voice of God introduces host Jessica Williams.

Jessica Williams takes the stage in a two-piece red and blue geometric-patterned outfit and updo, turning the stage into her own catwalk.

“Thanks Sundance for letting me stunt on y’all for a bit.

“Everybody welcome to the 2017 Sundance Film Awards. I am your host Jessica Williams and I am so excited to lead all of you in this awards ceremony this evening. I wrote all of these things down. What a journey it’s been for all of us. I really got swept up in the energy of this place and how beautiful it is. Mostly, I got wrapped up in how badly I wanted to do shrooms here. I’m not like a drug person. I can’t smoke weed casually. Because when i do i hear dogs that don’t exist. The lovely white people of Park City don’t need to see that version of me. I have done shrooms before. Recently I did them for the first time. I was nervous. My boyfriend MacGyver’d some shroom tea so I could have it at my leisure. Watching him do that, I was like that’s really hot. He gave me this cup of tea and I started sipping it slowly. I thought, ‘this feels good.’ I’m not afraid yet. I walked around on this property. I was walking alone through the woods touching the leaves and I thought, ‘Damn, we do think we own every land we land on.’ Then I ran into my boyfriend and he was like, ‘Do you want to go back to the room and listen to music?’ I was like, ‘Yeah, that sounds tight.’ We grabbed chips, turned on The Beach Boys, and cried. As we looked out into natch (nature).

“That’s really mostly what I’ve been thinking about since we got to Sundance. It’s insanely gorgeous. Apparently there is no snowboarding allowed in Deer Valley, there’s only skiing. Apparently snowboarding is the winter sport for peasants. Rude.

“One time a few days ago I saw Jon Hamm drinking a beer and watching a football game, It was one of the most sexually liberating experiences in my life. FYI there’s no place to find a tampon on Main Street. Body shamed a little bit. Not consciously by you guys.

“I guess there’s a lot of snow here. I got in an Uber – my boyfriend and I – he’s a white bae. I mostly date white baes. I fell in love with Leonardo DiCaprio.

“Half way up the hill both my white boyfriend and white driver got out of the car and I sat there while two white dudes pushed the car up the hill and I just sat there and thought this might be my reparations.

“I guess everybody blames the fact that they’re wasted on altitude sickness. But I see you. I know who you are.”

Jessica introduces Sundance Executive Director Keri Putnam.

UPDATED 6:40 PM MST

Hi everyone, and welcome to the live blog for the 2017 Sundance Film Festival Awards Ceremony. For the fifth consecutive year, we’re Eric Hynes, Jeremy Kinser, and Nate von Zumwalt, and we’ll be your eyes and ears for tonight’s festivities. We’re stationed to the right of the stage, astride the sea of folding chairs that await ticketholders. Once things get underway, we’ll be listening, typing and posting as fast as we can to give you a sense of what’s going on.

Once again the Awards Ceremony takes place at the Basin Recreation Fieldhouse at Kimball Junction, which is about a fifteen minute drive from Main Street in downtown Park City. Some of us remember when the ceremony took place at the MARC (formerly the Racquet Club), but the Festival has since outgrown that location. The Fieldhouse is a vast space, and tech folk are currently setting up multicolored track lights to give the hangar-like expanse some atmosphere. The stage this year is provocatively unadorned and two dimensional. Three LCD screens form the entirety of the backdrop, a single simple podium serving as the only object on a wide, narrow platform, and all other surfaces are black.

As the Festival comes to a close, it’s impossible not to acknowledge the larger context within which this year’s festival has taken place. The festival opened on Thursday, January 19, the day before President Donald Trump’s inauguration. On Saturday, January 21, as millions of people participated in the Women’s March on Washington and in cities around the world, a reported 8,000 people – locals and festival guests alike – gathered on Main Street in Park City to have their voices heard. And today, just as we’re about to celebrate the best new work from independent international artists, citizens are gathering at New York’s JFK, Los Angeles’ LAX, and other major airports to protest yesterday’s executive order putting a 30-day ban on new visas for people hailing from 7 countries, including those in possession of a U.S. green card. One of those countries, Syria, was the subject of three films in this year’s Festival: City of Ghosts, Last Men in Aleppo, and Cries From Syria. With so many film professionals traveling out of town and through international airports tomorrow, these unprecedented challenges will hasten our reunion with the fraught world outside of the Festival.

During the Women’s March on Saturday, Jessica Williams delivered a galvanizing speech, declaring, “I grew up thinking that the civil rights movement already happened, but this election was a wake up call.” Williams gives an attention-grabbing performance as a straight-shooting playwright in the comedy The Incredible Jessica James, which premiered January 27 as the festival’s Closing Night presentation. The actress, comedian, and former correspondent for The Daily Show is also this year’s host for the Awards Ceremony. Her credits include the HBO series Girls, as well as the films Hot Tub Time Machine 2 and People Places Things, which premiered at Sundance in 2015.

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