Pre-Codes at TCMFF 2017

Another highlight of my time spent in Hollywood for this year’s TCM Film Festival involved getting to catch a couple of pre-Code films.

While I may not be as well-versed as some, this is a sub-genre that holds great interest for me within the greater world of classic cinema.

And sure, a lot of these films are available for view at home, but seeing them on the big screen is an added treat.

One such example is the Howard Hughes-produced 1932 aviation comedy Cock of the Air, which thanks to the Academy of Motion Picture Arts and Sciences, has been restored and includes some of the original dialogue which had previously been censored. While I did not personally record the pre-screening introduction in the theater, here is a video (provided by the Academy) which discusses the restoration project:

The other pre-code feature worthy of attention features a not-exactly-“Blond Bombshell” Jean Harlow comedy Red-Headed Woman. I can only describe this experience as a wild ride that did its duty and left me in stitches as I witnessed Harlow’s Lil Andrews’ outrageous behavior on full display. Based on a novel of the same title by Katherine Brush and with an uncredited “written by” from the likes of no other than F. Scott Fitzgerald, the official screen credit is attributed to writer Anita Loos, who took the reigns from Fitzgerald and adapted the source material.

If you are a newbie to the world of pre-Codes and/or Jean Harlow, I highly recommend that you start with this film. You will thank me later 🙂

Nitrate and the 2017 TCM Classic Film Festival

This is the first in a two-part series in which I discuss some delights from my attendance at the 2017 TCM Classic Film Festival.

For the most part, this festival can be summed up for me in word – nitrate. Now I will admit my knowledge on this subject is rather limited and restricted to a base level understanding; if you want to know more,  direct you to this pretty awesome article that NPR posted to coincide with the screenings at the TCM Festival last month.

From the description of the likes of Martin Scorsese, who, as Founder and Chair of The Film Foundation, was on hand to introduce the first nitrate projection of the festival (Alfred Hitchcock’s original 1934 version of The Man Who Knew Too Much), the beauty of nitrate lies in the richness of the contrast in the film stock, whether it be black and white (which produces luminescent whites and deep blacks) or Technicolor (with deep, rich color pigments) cinematography.

As the NPR article suggests, this visual “wow” factor enhances the argument of the film being a medium in which the artist is painting images with light.

Of course, this all came with a high cost and great personal risk to projectionists, since the nitrate stock is very unstable and highly flammable. The result was scenes like this:

Not only was nitrate highly flammable, but it also degraded if not properly stored. The consequence for our collected film history means that before the shift to the more stable cellulose “safety” stock (introduced in the early 1950s), improper care meant that a large percentage of the “nitrate library” has been lost to time.

The joint ventures and continued efforts of organizations such as The Film Foundation (*), American Cinematheque, TCM, and the Hollywood Foreign Press Association have one goal in mind – to preserve this catalog for our film heritage. But that is only half the battle. It is one thing to collect the films, but what to do, next? Exhibit them, of course!

The key here is to create a projection environment where they can be displayed and shown to the public in as safe a manner as possible. And that is exactly what the above-mentioned parties have done. The projection booth at the historic Grauman’s Egyptian Theatre in Hollywood has been refitted to allow the nitrate prints to be projected without the catastrophic fire risk.

Interior of Grauman’s Egyptian Theatre

And thus the stage is set for one of my recent singular cinematic experiences at this year’s film festival.

Not only did I get to see The Man Who Knew Too Much, but I also was able to relish in the delights of Otto Preminger’s Laura,  Powell-Pressburger’s lush and sensual Black Narcissus (personal favorites of mine). Rounding out my experience was a first-time viewing of the Mitchell Leisen adaptation of the Broadway musical Lady in the Dark. This film, which stars Ginger Rogers and Ray Milland, was a nearly indescribable lavish and spectacular psychiatric trip, whose dated sexual politics yielded more than a fair share of chuckles. But have no fear, this only added to my overall enjoyment of the picture.

One final note – it cannot be stated enough that in seeing these films I am not only seeing them in their original intended glory – these prints are 70-80 years old! It is quite remarkable, indeed.

* For more information, check out the Film Foundation’s writeup: http://www.film-foundation.org/nitrate-at-the-egyptian

 

NYFF54 Feature: I, Daniel Blake (2016)

Ken Loach‘s brilliant I, Daniel Blake is a scathing portrait of a welfare system drowning in a sea of bureaucracy.

idanielblake_02

Our way into this story is through “everyman” Daniel Blake (Dave Johns), a 59-year-old Geordie (hailing from Newcastle). Recently disabled by a medical condition and unable to work, Daniel is getting nowhere in his efforts to get relief from the government services, which are allegedly put in place to help someone in his situation. He finds himself in a nightmarish, Groundhog Day scenario that involves an endless stream of paperwork, ambivalent government officials and roads that lead absolutely nowhere. It feels like a scene out of some far-flung dystopia – but no – it is this world,  this England, circa now.

During one of his fruitless expeditions to the Benefits office, Daniel meets recently-arrived-to-Newcastle single mother Katie (Hayley Squires) and her two young children, Dylan and Daisy, who were forced north due to affordable housing shortages in her London hometown.

Through the tears, there are still those precious nuggets of joy and the occasional laughter to be found in the film. But overall, this is a story about an extremely vulnerable segment of modern British society which by and large has been (cynically) left behind.

There is one moment involving Katie that absolutely took my breath away. Even as I recount it now, my eyes are welling up. In a scene that can’t last more than 15 seconds (if that), I was overcome by an avalanche of emotions. Kudos to Ms. Squires for her performance, which doesn’t feel like a performance as much as a channeling of the plight endured by many women who are struggling to make a way for themselves with some dignity and self-worth.

And that is the thing – not for one moment do you see these people as taking advantage of a social safety net or being “skivers,” as they are often portrayed in much of the press. They are people that through circumstances (i.e. LIFE) find themselves in a place where they need a helping hand to get through a rough patch. Thanks to a script from long-time Loach collaborator Paul Laverty, I, Daniel Blake subtly keys the audience into the fact that the system in place seems to be doing quite the opposite of helping those in need. By hassling and creating unbelievable obstacles in their path, the establishment succeeds in stripping away as much of individual’s self-worth as possible, to the point of making many resign themselves to their lot in life, ultimately and simply giving up. It is a powerful message to be presented in such a gentle manner.

Even as the film came to an end and I could sense where it was going, the tears continued to fall down my face. Life is not a fairy tale and even when given a cinematic treatment, it can deliver the most painful of punches to the gut.

That said, it is clear why I Daniel Blake took home the Palme d’Or at this year’s Cannes Film Festival. It is a memorable film that must be seen.

I, Daniel Blake is scheduled for release in the UK this Friday (October 21). And after making a few more film festival stops on this side of the pond, the US will get a limited release starting on December 23rd – just in time for major awards consideration.

NYFF54 Spotlight: Moonlight (2016)

You may have noticed that recently I have not posted with the frequency I once did. Several reasons – chief among them – I am just a tad busy lately (or maybe I have stated that before). But almost more importantly, 2016 has been an odd year for me cinematically. I have generally enjoyed the films I have seen to date. But if I am honest with you, my awesome readers, nothing has really gotten me overly excited. In the back of my head, I felt/hoped that come fall, the tide would change and we would enter my moviegoing sweet spot. Dear friends, I think we have arrived at that place.

This past weekend, I ventured to the Upper West Side of Manhattan and Lincoln Center to attend the 54th annual New York Film Festival. My Sunday was spent watching Moonlight (which we will discuss below) and Ken Loach’s latest (more on that later this week).

Moonlight marks the follow-up to writer/director Barry Jenkins’ previous feature, 2008’s Medicine for Melancholy.

moonlight

Based on a story by Tarell Alvin McCraney, this is a narrative told in three chapters which are chronicling the life of Chiron as he proceeds on his journey from young boy to young man in a Miami blighted by drugs and violence. But that is not the thing that worries him most – throughout all these stages of his life as portrayed on screen, we see him dealing with and ultimately coming to terms with who he is and what that means to truly embrace his sexuality.

It was refreshing to see such an emotionally raw drama amidst this setting. All too often when portraying communities of color in such a landscape, the story is fraught with what I can only characterize as a tale of hypermasculine “urban strife and turmoil.” And sure, those are important stories to tell, but it is equally important for there to be a representation that also allows this to fall to the periphery for the sake of telling a simple, beautiful story of a young man and his life and times.

Funny enough because of the structure of this film, I reflected on another recent film that similarly explored a young man’s “evolution” and coming of age (I will let you guess which one I am referring to). And while I enjoyed that film, I feel like Moonlight takes that idea and reaches new heights; it really captures those pivotal chapters of the young man’s life in a more controlled, economical and easier to process manner.

And while this is Chiron’s story, Moonlight is a film that is truly an ensemble piece where each of the principle characters – regardless of their station in life – have in them a strain of humanity which allows the audience to connect with them. Credit (of course) goes to the wonderful cast, which includes Naomie Harris, Mahershala Ali, Trevante Rhodes, André Holland, Janelle Monáe, Alex R. Hibbert, Jaden Piner, Ashton Sanders and Jharrel Jerome. They all bring this story and its characters to life.

There is so much more I want to say about Moonlight but I want to leave it to you to see what Barry Jenkins has beautifully constructed.

TCM Film Fest 2016: A Sublime Experience

My TCM Film Festival experience is best summed up in one word – sublime. In the three years I have attended the festival, I can say that without question this was the most enjoyable experience cinematically.

In total, I saw about ten (10) films — all enjoyable in their own way, but without question there were some that stood above the rest.

In this post, I will provide a quick recap and/or reaction to five films, and in subsequent days, I will spotlight three particular films of note: Cinema Paradiso, The Kid, and The Passion of Joan of Arc.

But for now, let’s get on with the business of me sharing a few thoughts on some of the other highlights from TCMFF 2016:

 

One Potato, Two Potato: Introduced by film historian Donald Bogle and the film’s director Larry Peerce, this movie from 1964 is an examination of an interracial relationship and its consequences. I had seen this before but really wanted to catch it on the big screen.

I loved the backstory that Peerce provided the audience, from the limited budget and the challenges they had shooting and distributing the film.

One Potato. Two Potato (1964)

One Potato. Two Potato (1964)

 

Los Tallos Amargos: Who knew there was a film factory down Argentine way, cranking out some pretty good film noir? Thought to be a “lost film,” this gem from 1956 is a restoration made possible by the UCLA Film & Television Archive with funding from the Film Noir Foundation and the Hollywood Foreign Press Association.

Reporter (Carlos Cores) and a Hungarian ex-pat (Vassili Lambrinos) come up with a scheme that they are sure will make them rich. Well, it works until it doesn’t – soon suspicions arise leading down a path that possibly has no return.

los-tallos-amargos-11

Los Tallos Amargos (1956)

 

He Ran All the Way: I decision to watch this film noir from 1951 was inspired by a podcast I had listened to weeks prior – Karina Longworth’s You Must Remember This is currently in the season of discussing Hollywood during the era of the HUAC Hearings and The Blacklist. This particular episode from March 14th, talked about John Garfield and his run-in with the Hollywood establish as well as government officials who were hell-bent on rooting out the “red menace” from Hollywood. It was a great episode and I suggest you give it a listen.

One of the films discussed in this ‘cast was Garfield’s final film, He Ran All the Way, which see Garfield portray a petty thief who takes a family hostage. The screening was introduced by director John Berry’s son, Dennis, this film read as a Who’s Who for the infamous Hollywood Blacklist. Not only was Barry forced into exile for alleged communist ties, but the co-screenwriters, Dalton Trumbo (uncredited) and Hugo Butler were also victims of the paranoia sweeping Hollywood.

Also in attendance for the screening was 101-year-old Norman Lloyd, who had a small role in the film.

Overall, it is a pretty solid picture – with a palpable sense of urgency in the performances, especially that of Garfield, who of course in the film and sadly outside the film was a man on borrowed time.

He Ran All the Way (1951)

He Ran All the Way (1951)

 

Band of Outsiders (Bande à part): Jean-Luc Godard’s 1964 film starring paramour Anna Karina (who introduced the film with TCM host Ben Mankiewicz) was once described as  “Alice in Wonderland meets Franz Kafka.” In this film, Karina plays a student conspires with a couple of n’er do wells (Sami Frey and Claude Brasseur) to steal a stash hidden in her aunt’s house.

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Band of Outsiders (1964)

 

The Fallen Idol: Director Carol Reed’s 1948 adaptation of Graham Greene’s short story “The Basement Room,” The Fallen Idol is an adult story, filled with suspense and a bit of levity, all seen through the eyes of a child (Robert Henrey, who was there for a post-screening discussion). It was quite a treat for an early Sunday morning.

fallen idol

The Fallen Idol (1948)

TFF 2016 Short Subject Feature: The Carousel

The Carousel is a short film essentially centered on one episode of one of my favorite television series, The Twilight Zone. In TTZ creator Rod Serling‘s hometown of Binghamton, New York there stands a carousel, a carousel which inspired one of Serling’s most personal episodes, “Walking Distance,” starring Gig Young.

Cortlandt Hull’s finished piece of Rod Serling and other works inspired by The Twilight Zone. Photo by Jonathan Napolitano

Cortlandt Hull’s finished piece of Rod Serling and other works inspired by The Twilight Zone. Photo by Jonathan Napolitano

In the episode, Young more or less plays a stand-in for Mr. Serling, a middle-aged man who returns to his idyllic hometown and soon discovers (because yeah, … The Twilight Zone) that he has returned on a random summer night of his childhood – literally. The realization is punctuated when he soon encounters a younger version of himself, who he proceeds to follow home. As the episode is discussed in the film, we gain a new insight into what this journey likely meant to the man (Serling) who brought the tale to life.

The short, which runs 12 minutes in length, also jumps ahead to the present day, showing the restoration of the original carousel. Filmmaker Jonathan Napoiltano interviews with the restorers of the carousel, who are using this and other popular episodes of Serling’s work as inspiration, in addition to Rod Serling’s daughter, Anne, who offers an illuminating perspective about her father for the audience.

 

And with this, I conclude my Tribeca 2016 coverage. Until next year …

tribeca film festival 2016

Tribeca ’16 Recap: Narratives

Now let’s take a look at a few features that caught my attention during the 2016 Tribeca Film Festival.

Adult Life Skills

Jodie Whittaker as Anna in the film ADULT LIFE SKILLS. Photographer: Jo Irvine

Jodie Whittaker as Anna in the film ADULT LIFE SKILLS.
Photographer: Jo Irvine

A poignant tragicomedy starring Jodie Whittaker as Anna, a 29-year-old who is rapidly approaching 30 (much to her chagrin). Added to the complications of her life is the fact that she lives in a shed, on her mother’s property in Yorkshire, England and is in a bit of a rut. Originally titled How to Live Yours (which comes up during the course of the film), Adult Life Skills is based on a BAFTA award-winning short film, both directed, written and edited by TFF 2016 Award Winner Rachel Tunnage (Nora Ephron Prize for Directing and Screenwriting).

Far and away, Adult Life Skills lived up to my expectations and simply was one of my favorite screenings of the entire festival. Sure, I am a sucker for the English countryside, but that slight bias aside, this was a film that keyed into to my sense of humor, emotional engagement and curiosity as the story unfolds, revealing to the audience the cause(s) of Anna’s seeming fecklessness.

Additionally, how can you NOT fall for a film that is described in its press notes as so:

[ADULT LIFE SKILLS has] basically the same themes as ROCKY if you think about it. But with thumbs. And a cowboy. And no boxing.

Adult Life Skills is bolstered by a wonderful ensemble cast that includes Brett Goldstein, Lorraine Ashbourne, Alice Lowe, Edward Hogg, Eileen Davies, Rachael Deering, and Ozzy Myers and features quite an epic use of Whitesnake’s Here I Go Again.

 

Little Boxes

Neslan Ellis as Mack Burns, Armani Jackson as Clark Burns, and Melanie Lynskey as Gina McNulty-Burns in LITTLE BOXES. Photo by: Mark Doyle

Nelsan Ellis as Mack Burns, Armani Jackson as Clark Burns, and Melanie Lynskey as Gina McNulty-Burns in LITTLE BOXES.
Photo by: Mark Doyle

Little Boxes is a fish out of water/coming of age story directed by Rob Meyer, written by Annie J Howell and executive produced by Cary Fukunaga.

Here’s the setup – enter our happy hipster Brooklynite family (Nelsan Ellis, Melanie Lynskey and newcomer Armani Jackson). By all accounts life could not be better. When the family matriarch  (Lynskey) is offered an opportunity she cannot turn down, the family finds themselves boxing up their city life and heading clear across the country to the ultra-suburban placidity of Rome, Washington. As you might guess, the transition has a few bumps that need to be worked out.

Overall I found this film to be an enjoyable light comedy that broached subjects such as cultural assimilation (in a new environment) and cultural identity with a measure of success.

The supporting cast includes Janeane Garofalo and Christine Taylor.

 

Here Alone

Lucy Walters as Ann and Shane West as Jason in HERE ALONE. Cinematographer: Adam McDaid

Lucy Walters as Ann and Shane West as Jason in HERE ALONE.
Cinematographer: Adam McDaid

This Audience Award winner is set against a heavily wooded, post-apocalyptic landscape of upstate New York. Like many films of the similar genre, Here Alone starts out as a quiet, contemplative piece. We are introduced to this “new” world through the perspective of a single traveler Ann (Lucy Walters). In fact, the opening minutes felt more like a “how-to guide” for living in the world after the fall of civilization than a narrative feature.

But alas, circumstances make it such that Ann’s sole accomplishment of simply “surviving” proves to not be enough,  eventually forcing her to face the prospect of expanding her horizons and venturing out into the larger world and the potential risks that lie therein.

Films like Here Alone cater to an ongoing fascination we have as a society for examining survival in a dystopian, post-apocalyptic world. While the concept is intriguing, it is also burdened with some limitations, namely the potential for any  story set amidst this setting to be predictable. Where films tend to rise or fall is in how they can take some of these more predictable elements and either subvert them or play them straight, but in an entertaining way.

That said, it begs to be asked — is Here Almost worth a look in?

Well, if you are like me, this film will be of interest to you based merely on the subject matter. Heck – one more infection spreads, causing mass human extinction, leaving its survivors to revert to the basest of human nature narrative in your filmgoing experience couldn’t hurt – now could it?

 

Next: A Spotlight on a Tribeca 2016 Short Subject Film

Tribeca ’16 Recap: Let’s Start with Docs

This year, I think I accomplished my mission of balancing out the features I screened between documentaries and narrative. I even managed to squeeze in a short film as the Festival was winding down. In the coming days, I will focus on the films that I felt were of note; much like I did my briefs in the lead up to #Tribeca2016, I will break separate each post by content category – documentary, narrative and short. As the title indicates, I’ll start with the documentaries.

 

The Last Laugh

Mel Brooks in THE LAST LAUGH "Anything I could do to deflate Germans... ANYTHING... I did!... Hitler was always funny!" Photographer: Ferne Pearlstein

Mel Brooks in THE LAST LAUGH “Anything I could do to deflate Germans… ANYTHING… I did!… Hitler was always funny!” Photographer: Ferne Pearlstein

The central questions being asked by this film include:

  • Can the Holocaust ever be funny? 
  • When do stabs at humor cross the line of decency?
  • What is the role of free speech in this whole process?

The journey of The Last Laugh is seen through the lens of Renee Firestone, a 91-year old Auschwitz survivor and anti-genocide activist whose life story serves as a living example of the rewards and risks of using humor in the face of unspeakable tragedy – in Firestone’s case – the events of the Shoah.

Interviews with Firestone and other survivors and their families are intertwined with clips featuring talent including Mel Brooks, Chris Rock, Sarah Silverman and Carl and Rob Reiner as they attempt to tackle these questions as they pertain to Holocaust and other eyebrow-raising topics that may or may not enter a comedian’s oeuvre. These are run along side some really poignant, rarely seen footage of cabarets inside the actual concentration camps. Also among the rarely seen is some newly discovered footage of Jerry Lewis’ never-released, but widely judged to be “ill-conceived” film, the Holocaust comedy The Day the Clown Cried (eek!).

All said and done, you might be wondering if any of the above-listed questions actually led this viewer (ME) to any concrete answers …

.. well, if I were to come down on a side, I think I am in league with Mel Brooks on this one (watch and see what that exactly means).

This film also reiterated for me an already held belief that making fun of something is separate and apart from using humor as a coping mechanism in dealing with the unfathomable.

As for the other “questions” – sure, there is a line that can be crossed in the name of humor; however, where that line is does feel like it is constantly in flux as our society moves further away from one human disaster/tragedy and barrel towards the next one.

 

My Scientology Movie

Louis Filming being Filmed at Gold Base. © BBC/BBCWorldwide

Louis Filming being Filmed at Gold Base. © BBC/BBCWorldwide

Directed by John Dower, My Scientology Movie (BBC Films) stars provocative British documentarian/writer Justin Theroux as he seeks to unmask the world of Scientology. By combining an earnest approach to the subject matter while maintaining a disarming level of levity, I felt I could easily engage with and be entertained and informed by this documentary in a way that I had not experienced in another headline-grabbing Scientology “expose” I recently saw.

While this story is composed of some first hand accounts from former members of the Church, Theroux and company frame this documentary also as a “film within a film;” the interviews are inter-cut with Theroux “auditioning” actors to portray key Scientology figures. Their assignment is to act out what can only be described as some harrowing accounts of life as a Scientologist from many of the very ex-members featured in the film.

As you can imagine, this leads to some interesting encounters.

My Scientology Movie premiered at the 2015 London Film Festival and made its North American debut at Tribeca.

 

Bad Rap

Awkwafina (Nora Lum)'s fans surround her before her show in Washington, D.C. Cinematographer: Salima Koroma

Awkwafina (Nora Lum)’s fans surround her before her show in Washington, D.C. Cinematographer: Salima Koroma

As a child of hip hop, I was fascinated by this film once I saw it on my film festival program – a history and account of Asian hip hop artists.  We are taken on a journey with four performers (Dumbfounded, Awkwafina, Rekstizzy, Lyricks) at varying stages of their respective careers. The Indiegogo-funded Bad Rap (directed by Salima Koroma) chronicles the obstacles these individuals have encountered in trying to break out onto the rap music scene, a scene that is traditionally dominated by Black and Latino artists.

My initial reaction was a feeling of discomfort with some of the actions and behaviors on display by a few of the performers (looking at you, Rekstizzy). My mind immediately jumped to thoughts of cultural appropriation to the point of making a mockery of the cultural phenomenon which is hip hop.

And while that feeling did not entirely go away by the time the end credits rolled, I was left thinking that Bad Rap was a rather interesting piece if for no other reason than it can inspire conversations about the “ownership” of culture culture or who is “permitted” to use a particular medium as a means to express themselves, particularly when that medium is not generally perceived to include members of certain communities.

Next up: Tribeca ’16 Recap of Narratives

 

 

Checking in with …. the 2016 TCM Film Festival

Sure, there is a full day and a half of programming to look forward to, but I had a little bit of downtime and I thought it was as good a time as any to check in and let you know I have been having an AWESOME time out here in Hollywood at the 7th Annual TCM Film Festival.

This year I really made it a mission of mine to more or less check out screenings for films I have not seen (big screen or small screen). So far the experience has been wonderful and I cannot wait to share with you some of my thoughts and commentary on films such as:

  • The Passion of Joan of Arc
  • One Potato, Two Potato
  • Los Tallos Amargos
  • Never Fear

tcmclassicfilmfestival

In the meantime, checkout my Twitter handle, @iluvcinema for periodic news, commentary and other good stuff!

Tribeca 2016 Preview (Short Film Programs)

I round out my prep for Tribeca 2016 with a look at some of the Shorts Programs playing. For the duration of a feature film you can see a few pieces, threaded together by a common theme. Here are a few programming blocks and a feature (or two) I think are of interest (N=Narrative D=Documentary):

 

New York Now Home-grown New York shorts

You Can Go (N):  A high school administrator talks down a troubled student.

The Mulberry Bush (N): Two men sit next to each other on an autumn day in Central Park. They make small talk about the weather and the joys of summer. When the conversation turns personal, however, it becomes clear that this is no random encounter, and they are headed toward a startling confrontation.

Wannabe (N): NYC, 1991. During a time of tremendous racial strife, a neurotic Jewish boy must win over his crush by first impressing her skeptical Jamaican family.

S. Epatha Merkerson as Mrs. Bryant in YOU CAN GO directed by Christine Turner. Photo credit: Marshall Stief

S. Epatha Merkerson as Mrs. Bryant in YOU CAN GO directed by
Christine Turner.
Photo credit: Marshall Stief

 

New York Then Human stories and New York’s past

Taylor and Ultra on the 60s, The Factory and Being a Warhol Superstar (D): Warhol superstar Ultra Violet (Isabelle Colin Dufresne) and Lower East Side icon Taylor Mead (poet/actor/artist) share their stories of Manhattan in the 1960s.

Dead Ringer (D): There are only four outdoor phone booths left in all of New York City—this is a late night conversation with one of them.

Mulberry (D): This cinematic portrait of Little Italy explores how a working class neighborhood of tenement buildings transformed into the third most expensive zip code in the United States. Part funny, part sad, the film investigates how gentrification and rent control are affecting the neighborhood’s long-term residents.

Starring Austin Pendleton (D): The most famous actor you’ve never heard of; Austin Pendleton reflects on his life and craft while his A-list peers discuss his vast influence and what it means to be an original in a celebrity-obsessed world. Includes interviews with Philip Seymour Hoffman, Meryl Streep, Natalie Portman, Olympia Dukakis, and Maggie Gyllenhaal.

The Carousel (D): In the small town of Binghamton, New York, there spins a 1925 carousel that once inspired Rod Serling and has since become a portal into the Twilight Zone.

Cortlandt Hull’s finished piece of Rod Serling and other works inspired by The Twilight Zone. Photo by Jonathan Napolitano

Cortlandt Hull’s finished piece of Rod Serling and other works inspired by The Twilight Zone. Photo by Jonathan Napolitano

 

Rock and a Hard Place Music-driven documentary shorts program

Let’s Dance: Bowie Down Under (D): The remarkable, forgotten story behind ‘Let’s Dance,’ David Bowie’s biggest hit record.

David Bowie and crew filming the music video for Let’s Dance in the Carinda Hotel, in remote, outback Australia. Photo credit: Smoking Bear Productions.

David Bowie and crew filming the music video for Let’s Dance in the Carinda Hotel, in remote, outback Australia. Photo credit: Smoking Bear Productions.

 

That’s it for now. Stay tuned for updates, tweets and some reviews!