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Sour Grapes & Raging Queens...

AcademyOooooh dear...handbags at dawn...there's a poofy showdown a-brewing.

Sam Smith and Dustin Lance Black are rutting over statuettes and the ubiquitous little diver known as Tom Daley.

Sam made a silly faux pas in his Oscar acceptance speech and Dustin went in for the kill...with a tweet that read:

Hey @SamSmithWorld, if you have no idea who I am, it may be time to stop texting my fiancé.

Insecurity issues, Dustin?!? Where has your dignity gone?

BuzzFeed has made a lovely little film...Sam nor Dustin were the first...

 

Oscar 2016 Nominations & Winners...

AcademyBest Picture
The Big Short
Bridge of Spies
Brooklyn
Mad Max Fury Road
The Martian
The Revenant
Room
Spotlight

Best Actor
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl

Best Actress
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Saoirse Ronan, 45 Years
Charlotte Rampling, Brooklyn

Supporting Actor
Christian Bale – The Big Short
Tom Hady – The Revenant
Mark Ruffalo – Spolight
Mark Rylance – Bridge of Spies
Sylvester Stallone – Creed

Supporting Actress
Jennifer Jason Leigh, The Hateful Eight
Rooney Mara, Carol
Rachel McAdams, Spotlight
Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs

Best Director
Adam McKay, The Big Short
George Miller, Mad Max Fury Road
Alejandro González Iñárritu, The Revenant
Lenny Abrahamsson, Room
Tom McCarthy, Spotlight

Best Original Screenplay
Matt Charman, Joel & Ethan Coen, Bridge of Spies
Alex Garland, Ex Machina
Pete Docter, Meg LeFauve, Josh Cooley, Inside Out
Tom McCarthy and Josh Singer, Spotlight
Jonathan Herman, Andrea Berloff, Straight Outta Compton

Best Adapted Screenplay
Adam McKay and Charles Randolph, The Big Short
Nick Hornby, Brooklyn
Phyllis Nagy, Carol
Drew Goddard, The Martian
Emma Donoghue, Room

Cinematography
Ed Lachman, Carol
Robert Richardson, The Hateful 8
John Seale, Mad Max Fury Road
Emmanuel Lubezki, The Revenant
Roger Deakins, Sicario

Best Original Score
Thomas Newman, Bridge of Spies
Carter Burwell, Carol
Ennio Morricone, Hateful Eight
Jóhann Jóhannsson, Sicario
John Williams, Star Wars the Force Awakens

Costume Design
Sandy Powell, Carol
Sandy Powell, Cinderella
Paco Delgado, The Danish Girl
Jenny Beavan, Mad Max Fury Road
Jacqueline West, The Revenant

Best Foreign Language Film
Embrace of the Serpent
Mustang
Son of Saul
Theeb
A War

Best Makeup
Mad Max Fury Road
The 100 Year Old Man Who Climbed Out the Window and Disappeared
The Revenant

Film Editing
The Big Short
Mad Max
The Revenant
Spotlight
Star Wars The Force Awakens

Original Song
Earned It from Fifty Shades of Grey (The Weeknd)
Simple Song #3 from Youth (David Lang)
Writing On The Wall from Spectre (Sam Smith)
Til It Happens To You from The Hunting Ground (Diane Warren and Lady Gaga) 
Manta Ray from Racing Extinction

Animated Feature Film
Anomalisa
Boy and the World
Inside Out
Shaun the Sheep
When Marnie Was There

Animated Short Film
Bear Story
Prologue
Sanjay’s Super Team
We Can’t Live without Cosmos
World of Tomorrow

Live Action Short Film
Ave Maria
Day One
Everything Will Be Ok
Shock
Stutter

Documentary
Amy
Cartel Land
The Look of Silence
What Happened Miss Simone?
Winter on Fire: Ukraine’s Fight for Freedom

Best Documentary Short
A Girl in the River: The Price of Forgiveness
Body Team 12
Chau, Beyond The Lines
Claude Lanzmann: Spectres Of The Shoah
Last Day Of Freedom

Visual Effects
Ex Machina
Mad Max: Fury Road
The Martian
The Revenant
Star Wars the Force Awakens

Production Design
Bridge of Spies
The Danish Girl
Mad Max: Fury Road
The Martian
The Revenant

Sound Editing
Mad Max Fury Road
The Martian
The Revenant
Sicario
Star Wars The Force Awakens

Sound Mixing
Bridge of Spies
Mad Max Fury Road
The Martian
The Revenant
Star Wars The Force Awakens

Glasgow Fim Festival 2016

GFFDay 1...

The red carpet is out, the rain is pelting down...Glasgow Film Festival 2016 is about to begin! Well, it is for those with a ticket...we saw this at a press screening a few days ago. So, we are pretending to be there...with our voracious film-festival appetite.

Let the festival commence...

Hail-Caesar

Hail, Caesar! (2016, UK | USA) by Ethan Coen & Joel Coen. Love 'em or loathe 'em, the Coen brothers always deliver a quality product. Hail, Caesar! oozes quality, it would be hard not to...with this litany of Hollywood A-listers...

But...does it cut-the-mustard? The answer is an indefatigable yes...and, a deflating no. Some scenes work, some don't. It's all very episodic...and, as a whole, it doesn't come together. Definitely camp, there's a whiff of homosexuality (it's Hollywood, darlings!) and the gayest sailor-scene ever committed to film. Definitely entertaining - with some heady highs and frequent lows...usually involving Channing Tatum.

Day 2...

The-ClubToday: Four films on the slate...and, outside, the weather is grim. There's no better place than to spend time inside a cinema.

First up...The Club (2015, Chile) by Pablo Larraín...no introduction, now that's a little disappointing. Every film in a festival should be introduced. Still, what followed, was jaw-dropping.

A film that seems to have been ignored by the LGBT film festivals...seriously, this is not only an injustice...but, a disservice to the LGBT community. Programmers/curators do your job, it's not about you...it's about bums on seats. And that, my darlings, is why (after much criticism) we cover mainstream film festivals...because [exclusive] LGBT festivals are (and becoming more so) blinkered - just because it's 'gay' doesn't mean it's any good.. The Club is raw, it's savage...it's as unpleasant as it is un-missable. All we can say is...well done Glasgow. And, thank you.

You can read the full review here.

Between films, I'm listening to Fleetwood Mac...Beautiful Child, tears are rolling down my face...hopefully, no-one has noticed.

Next up: Continuing the South American theme: Land & Shade (2015, Colombia) by César Augusto Acevedo.Land And Shade

Nothing LGBT here...but, it's a beautiful, slow-moving treatise on the inevitability of impending grief. Tears rolling...again.

Musical interlude: Fleetwood Mac's Sara...I used to listen to this over and over again - as a kid - playing backgammon with myself. Tough times...you are the poet in my heart.

SummertimeI'm not a lesbian-themed movie lover (gay man yaddy-yah)...but, sorry - with a few execeptions, they are all the same...Summertime by Catherine Corsini (2015, France) is an exception. I could easily fall in love with Carole (Cécile De France)...what a woman. Even if the cinema is a little chilly...it's summertime, it's beautiful. Did a rueful tear just roll down my cheek?

You can read the full review here.

No musical interlude...reading Holding the Man by Tim Conigrave...I'm doing everything to control uncontrollable sobbing. This book reaches inside and touches your soul...for those of us, of a certain age...the most painful of memories.

High-RiseLast film of the day...the big one...High-Rise (2015, UK) by Ben Wheatley...and, introduced by Ben Wheatley. What a very pleasant man...pity the same cannot be said about his film. A visually satisfying, high-octane, incohesive and incoherent rollercoaster ride - I am (obviously) not the intended audience. As for LGBT content...nothing really apart from a brief glimpse of a man in a bra!

All in all...a damn fine start...to a damn fine festival. Highs with emotional lows. Home time...in the rain.

Day 3:

It's still raining. Three films today...two of which are eagerly anticipated.

From-afar

First...From Afar (2015, Venezuela) by Lorenzo Vigas - winner of the Golden Lion @ Venice. Now, context can affect the way you watch a film...it can be impaired...or, it can be heightened. I made a festival friend! My new friend will remain nameless for reasons that will become apparent. She was excited to be seeing a film from her native country in Scotland. We chatted in her broken English and my fractured Spanish.

Introduction over...the lights went down. My new festival friend was sound asleep, snoring quietly, within 10 minutes. She awoke, on cue, as the end credits started to roll...did I miss anything? She asked. Yes. Something very unpleasant indeed. Now, I am not a graduate from the Vito Russo [The Celluloid Closet] school of opinion...Russo was deeply concerned (and angry) about the negative depictions of gay men on the silver screen. In his world, he wanted positive portrayals of happy men in happy relationships in a world imbued with equality. Well, Vito will be spinning in his grave...there is nothing positive about From Afar - far from it. A pederast manipulates a gay-4-pay young man who manipulates the pederast, it's a quiet, unsettling film that will leave you...unsettled and provoked. The final scene - on which the film relies - will astound. Some will find it too slow, too quiet - like my new festival friend. But...you will leave From Afar thinking...bad thoughts.

No musical interlude, no Holding the Man...fresh air. I need fresh air. Clear my mind...from those bad thoughts. Such an affecting film.

Eisenstein-in-Guanajuato

And now for something completely different. From the maverick that is...Peter Greenaway. A forgotten prophet in his native land...as the introduction so appropriately stated. I grew up watching Peter Greenaway...usually in the Everyman Cinema in Hampstead (with Jean-Claude) or The Scala at King's Cross (with Philip)...happy, careless days.

Eisenstein in Guanajuato (2015, Netherlands) stumbles at the very beginning...Peter, Peter, Peter less of the gimmicks. Fortunately, it picks itself up, dispenses with the nonsense...and, proceeds on its merry, mind-boggling way. It doesn't take too long until the Greenaway trademark appears...nudity. For those of you adverse to male genitalia...this film is not for you. Willies abound, rather graphically too - if you get my drift. A visual delight and a vortex of words...with an undeniable performance by Elmer Bäck - I loved it (less the gimmicks), not so sure about the rest of the audience.

You can read the full review here.

Music: Nick Drake...Five Leaves Left...sobering and intoxicating.

Urban-Hymn

It's been nearly a decade since Michael Caton-Jones graced us with his presence on the silver screen, Urban Hymn (2015, UK) quashes that silence. It's a gritty, low-budget coming-of-age tale, casting off those shackles that bring you down. Competently done, it suffers a little due to the fincancial & time constraints...but, a worthy effort nonetheless.  The Q&A, afterwards, revealed why members of the public should not be allowed to ask questions...a woman stated that both actors were well-suited to their parts, especially Isabella Laughland (who plays a drug-addled, murdering psychopath). Isabella was a tad shell-shocked and explained with her perfect Received Pronunciation...it was all acting. She certainly delivered the stand-out performance...a fine future beckons.

Home time - can I swerve the allure of the fish and chip shop?

No. It's the rain...it makes me hungry.

Day 4...still raining.

James-White

The first feature from Josh Mond, James White (2015, USA). The eponymous James is a bit of a lad. The only problem is...he's not a lad anymore. Irresponsible with the weight of the world on his shoulders...his mother (Cynthia Nixon) has terminal cancer.

There's a bromance at its core - and no, there's no subtext, y'know...sometimes men can just be really good friends. It's a fast-paced, truthfully written film...there are a few laughs to be had via the cheeky chappy routine...but, it's the relationship between mother and son that clinches the deal. A fine debut that elicited a tear or two.

Music...something cheery...something that will brighten my path ahead...Passenger: Let Her Go...because, the next film is by a filmmaker I do not understand nor do I ever want to understand - call me blinkered.

No-Home-MovieAny hopes I had of something worthwhile were dashed in the first mind-numbing, endless, well-attended minutes.

Some films should come with a Public Health Warning...No Home Movie (2015, Belgium) is one such film. Chantal Akerman's final, fatal film. At this juncture, it would be fair to say that I am not a fan of experimental cinema...why? I hear you ask. Because...in my not-so humble opinion and after an eternity of screenings...I have come to the devout, unshakeable conclusion that anyone - regardless of talent - can make an experimental film. Now, just before, I receive a torrent of abuse, I do not include the surrealists or the absurdists in my experimental condemnation. Alas, the avant-gardists are in there with the experimenters...tarred with the same brush.

How to make an experimental film: Lesson 1...point the camera at anything. Lesson 2...press the record button. Lesson 3...call it experimental. Akerman followed these 3 lessons to the letter.

My viewing was further diminished by the antics of the couple sitting in front of me...a high-maintenance woman who could not drink her coffee in silence demanded attention from her ever-obedient partner, stroke my hair, she whispered loudly...he did. Rub my neck...he did. Kiss me [often]...he obliged. Every cinema should have a sign declaring: NO HEAVY PETTING (just like in swimming pools, way back).

I'm leaving the cinema to bash my head against the nearest brick wall...in the rain.

Doof!

Read the full review here.

Evolution

Somewhat bruised and still rather angry at squandering 115 minutes...I stomped towards the Glasgow Film Theatre.

The poster alone made me want to love this film...did you ever buy an album (in the sadly departed vinyl years) on the basis of its cover alone? I did, many, many times. Treats and horrors in equal measures.

We were introduced to Lucile Hadzihalilovic - the director with the unpronounceable name, bets on how many times she's had to spell that out over the phone! She told us to expect a journey...rather than a story. I was on the edge of my aisle-side seat.

For those of you who didn't know and for those of you interested...I am also a PADI-qualified diving instructor...so, any film with underwater photography gets me rather excited. Évolution (2015, France) got me rather excited...a cinematic beauty unfolded in front of my eyes. The framing, the imagery...all exquisite...although I had no idea what was going on. Definitely an incomprehensible journey and a journey that should not be missed. Was that a lesbian orgy? Chilling beauty and one to discuss over a stiff drink.

At the Q&A afterwards, the director with the unpronounceable name explained that the film was autobiographical. It was about a young boy...bemused and flummoxed...

I need a stiff drink...alas, no-one to discuss Évolution with. I am a solitary-film-festival-attending-geek...still wondering whether that was a lesbian orgy in the mud!

Day 5...it's Sunday, it's raining...I'm driving to the festival.

Parking was easy, getting there not so...one-ways everywhere. As it turned out, it would have been quicker to walk.

SingSing Street (2016, Ireland) by John Carney. 

What a joy of a film. Definitely one for those of a certain age, who grew-up in the 1980s...I am one of those - definitely aged. Looking around, I am - comfortably - not alone. Together, we laughed at all the same places. Kindred spirits, each and all.

Ooooh but there's a sting in its tail...thumping priests get a thumping - there's a brief, chilling scene with a priest, it is as chilling as it is brief.

But...the stars of this show are Ferdia Walsh-Peelo (an outstanding acting debut) and John Carney - for directing such an outstanding debut and for the background detail. Sing Street is a joy.

Oooooh there's been a pickle with the tickets...I have no ticket for the next scheduled film...and the press office is closed - c'est la vie. Still, I leave the cinema with an 80s song in my heart.

Day 6 - have I awoken in a different country? The sunshine is screaming through the shutters. It feels like Spring. It smells like Spring. It's Spring in Glasgow...I walk across George's Square en route...Monday morning you sure look fine...Fleetwood Mac.

That pickle with the tickets...sorted diligently and trouble-free. I would just like to say...the GFF press-office-people are all rather lovely, doing a damn fine job.

ChevalierIt's a bit of a marathon today...4 films. First-up...

The "Greek Weird Wave" continues with Chevalier (2015, Greece) by Athina Rachel Tsangari. Not being a fan of Tsangari's Attenberg (2010, Greece)...I went into this film with a not-so-open mind.

I didn't get it. I didn't believe it. It was not funny...nor was it particularly disturbing (as it was said to be). A bunch of middle-aged men playing a game of one-upmanship (on a boat, gettit!?). And what was that scene with a man wandering around with an erection searching for any-man-will-do to sodomise?!? And, the lip-synching scene...total nonsense. In better hands, perhaps, a decent film could have been gleaned from what was - on the surface - a good idea. Tsangari's sense-of-humour is the polar opposite of mine.

If you want good GWW - Dogtooth and The Lobster are mighty fine films.

Find me a green square. Find me a Gregs...a few minutes later...sitting in a Square, eating a Steak-Bake, the sunshine on my face...won't you lay me down in the tall (green) grass and let me do my stuff! I think it sounds better with the green added.

Louder-than-bombs

Louder Than Bombs (2015, Norway | France | Denmark) by Joachim Trier - his first English-language film. Rather underwhelming and somewhat problematic...methinks, juggling too many ideas. The trying-to-be-too-clever is what brings this film to its knees, there are moments you think: yes, that's good, go with it...alas, Trier doesn't. Just like a juggler who drops a ball. Let's start again...Louder with Bombs starts over and over.

Perhaps, if either one of the brothers were even remotely likeable...we (as in royal) may have warmed to the story more than we did. The grand revelation of the secret (which we know in the first few minutes of the film) is anticlimactic to say the least. Gabriel Byrne does a decent job, Jesse Eisenberg is as irritating as always, David Strathairn is shamefully under-used and, Devin Druid is shakeably lacklustre...just like the film.

I need something to pick me up...a tonic. With Gin.

The-Brand-New-Testament

Or...The Brand New Testament (2015, Belgium) by Jaco Van Dormael - just what the doctor ordered.

God is abusive and alcoholic and living in Brussels...with his wife and daughter...the son scampered off years ago. God's daughter is pissed off and decides to undermine her father and follow in her big brother's foot-steps, scampering off through a washing-machine...she needs 6 randomly-chosen apostles...it's as wild as Alice Through the Looking-Glass.

The chosen 6 are a motley crew...but, it's little Willy who stands out...with only a few days left on planet Earth, his parents offer him the world...what does he want? Well, that would spoil it.

A film of breath-taking imagination, madness and emotion.

Ask yourself: How would you prepare...if you knew the exact moment of your death?

Outside, waiting for the next film...I'm still asking myself that very question...

Yes, films resonate.

There are some heavy-duty, tuxedoed security-types dotted around the cinema...are we in the presence of royalty? Alas, no - pesky potential pirates...this is a UK, big guns a-blazing, pre-premiere with the Hollywood A-lister that is...Jake Gyllenhaal, sadly not-in-person - what a coup that would have been! Anyone seen using a mobile phone will be ejected...you have been warned!

Demolition

Demolition (2015, USA) by Jean-Marc Vallée resonates and - for some - shudders. A story about grief, its folly and its management. There is a significant gay storyline...Judah Lewis plays a 15 year-old boy, who looks 12 but acts 21...he and Gyllenhaal have a show-stealing 'coming-out' scene together...this film does nothing but resonate.

I read somewhere - by someone of no consequence - that Demolition's premise was a far-fetched ridiculousness...15 years ago, I awoke, showered and dressed and, after 20 years, left my apartment and possessions behind. I know not what happened to my apartment or my possessions...the sad, sad days of my mismanaged grief.

And on that note...home, reflectively. Grief, it mellows but never goes away. I walk slowly.

Day 7...the sun is still a-shinin'

TrumanA late addition to the festival...Truman (2015, Spain) by Cesc Gay - a man and his dog, a best friend and terminal cancer. It doesn't exactly present itself as one of the cheeriest films in the festival...but, it is - without doubt - the most heart-warming.

Periodically, throughout, a tear escaped. The final scene, I was sobbing...the woman behind me patted me on the shoulder, saying 'there, there' - I was inconsolable. Beautifully pitched, beautifully played. Just beautiful.

I have a rather sizeable gap before the next film - south of the river - back to the square, back to Holding the Man...howling by the end. I'm having a tearful day. Time to find the car...

I drove past the Tramway. I was expecting a beckon of light shooting upwards into the night sky...in praise of the Arts. It's a big, dull building on a rather badly-lit road.

WildnessWildness (2012, USA) by Wu Tsang. First of all, I would like to say...that I read this film in a completely different way than to the rest of the audience...

Gender-fluid Tsang states - in a calm, soothing and therapeutic voice - that he/she is incomplete because his/her father did not teach him/her to speak Chinese as a child...he/she is unable to communicate with a part/half of him/herself. Poor darling. I, too, am unable to communicate with part of myself...because my parents did not teach me Gaelic! Growing up in London...some piece of my inner-puzzle was missing, my inner Gaelic voice! I blame my parents.

This is a film about the voraciously vocal 'queer' sub/counter-culture...those affected doyennes who want to obliterate the LGBT community with their self-branding form of abuse, anger and arrogance.

Tsang has, inadvertently, made a film about the damage that these 'queers' can do. Here, Tsang (& Co.), a trumped-up, trust-funded troupe of twats...who tresspass, kidnap and hold to ransom a small (and essential) latino/a community of trans*people.

Engorged with self-importance, Wildness is a badly-made film with more starts and stops than a traffic jam - just when you think its over...up pops another scene of abhorrent self-worth. Get me out of here.

Home...I hope the traffic is not too bad. I've just experienced film-rage...a dose of road-rage would do me in.

Day 8...does the sun never stop shining in Glasgow?

Green-room

Green Room (2015, USA) by Jeremy Saulnier turned out to be an unexpected fright-fest. After a rather ropey start that belies the tension that Saulnier manages to build and maintain until the final [killer] line is delivered. If violence is your thing...then, this caustic little gem is for you...otherwise give it a very wide berth indeed. It's unrelenting and wholeheartedly gruesome.

I have a dilemma (or two) - which book to read next...! Something cheery, methinks. In the meantime...off to the CCA for...

The-DaughterThe Daughter (2015, Australia) by Simon Stone - adapted from Ibsen's The Wild Duck (1884). A modern take on a rather old 'classic' - for those of you who know nothing about Ibsen, expect misery and you shall be rewarded (in abundance). 

The discomfort in the make-shift 'cinema' is matched wholly by the on-screen story. Seriously, cinema-seats without armrests, portable cushions...not a pleasant place to watch a film. The Daughter goes through every shade in the grim-spectrum, the stellar cast do a fine job with the emotionally draining script. It is cheerlessness - in abundance.

Home...to a cheerier life and more comfortable room.

Day 9...only 1 film today...but, the pickle-with-the-ticket film has now been seen...and, a couple of other films (seen previously) are given a thorough vetting...

Experimenter

Experimenter (2015, USA) by Michael Almereyda - a pseudo-psycho-babbling quack conducts a series of unethical experiments. The result is a rather inventive (possibly because of budget constraints), definitely arid companion piece to The Stanford Prison Experiment.

Seemingly, the is an accurate depiction of the actual experiments...but, Peter Sarsgaard's droning voice is more tortuous than an electric shock. As for Ms. Ryder...she looks worryingly skeletal.

Dr Stanley Milgram was stopped in his tracks by those with a conscience...before he could go any further, before he turned into the living incarnation of Josef Mengele...which brings us neatly onto our next film...

Labyrinth-of-Lies

Labyrinth of Lies (2014, Germany) by Giulio Ricciarelli - a fictitious, fact-based account of the search for Josef Mengele, Otto Eichmann and every other perpetrator of Holocaust atrocities.

It's a decent film that drifts too far from its chosen path...the love-story is an unnecessary and unwelcome abstraction from the - sadly weakened - main story. Joachim Kügler (1926-2012) and Georg Friedrich Vogel (1926-2007) were the real-life investigators - why invent a new character? Why not give due credit to these deserving men?

That said...it's still a decent film that sheds light on a dark subject...brushing war crimes under the carpet, justifying horrific actions by simply saying, "I was only following orders."

The time is rapidly approaching when these man-hunts will be over...but, there are still some old men determined to get the justice they deserve. Christopher Plummer & Martin Lanau play two such men...

Remember

Remember (2015, Canada) by Atom Egoyan - this is the pickle-with-the-ticket film...and what a film it is...breathtaking. The best way to see this film is without any prior knowledge whatsoever...read no reviews! They will do nothing but spoil it.

There is a brief and unbearably touching scene with an old gay man...it resonates, especially after the end. And that is all we're going to say about Remember - apart from...why was this film ignored by the Oscars? Seriously, do anything you can to see this it...it is an experience you will never forget. The very last shot should make you gasp!

From terrible people to terrible places...

The-Forest In 2015, Japan's suicide forest became the subject of two films. First, there was Gus Van Sant's The Sea of Trees which received a well-deserved (and severe) critical lambasting at Cannes. And now, in Glasgow, the second foray into...The Forest (2015, USA) by Jason Zada - a concocted horror that will appeal to...erm, I don't really know who this will appeal to.

After the ludicrous set-up...a missing twin...I know she's alive, I can feel her sort-of-crap...when they eventually get into the forest, there is atmosphere, creepiness and the potential for some psychological mayhem...alas, the director prefers to go off-piste with the psychology...which is a shame because that created atmosphere could have been exploited to the point of disturbia.

Ambling home-ward through the night-lit streets, I wondered when I last saw a truly disturbing film. Aaaah Remember.

Day 10...

Good morning...there's a spring in my step as I walk towards the CCA to watch one of my most anticipated films of the festival...who cares if it's in an uncomfortable, makeshift cinema devoid of armrests...nothing can dampen my spirits on this fine day.

Ever early, I sit and start my next tome - World Without End (Ken Follet, 2007) - a book I've been meaning to read for many a year - now's my chance. But no...I have made - inextricably and unintentionally - a new film-festival-friend! She sits enthusiastically and contagiously beside me...I am no longer a solitary film-festival-going-geek.

We talk Truly Madly Deeply and the sad passing of Alan Rickman - who was in attendance at this very festival a year ago. We compare our likes, dislikes and surprises.

The 'cinema' is - surprisingly - well-attended, no doubt, because of Juliet Stevenson. The lights lower, silence...

departure

Now, if I hear the word 'nuanced' in an introduction again...I'm going to scream. To me, the word: Nuance...is the epitome of...one man's meat is another man's poison.

Departure (2015, UK | France) by Andrew Steggall - his feature debut, after a few decent shorts. The (homo)sexual awakening of an adolescent boy and a mother's meltdown. When a reviewer (or anyone) says...it starts off well...you just know that it is not going to end as well as it started. Departure starts off well...

Juliet Stevenson does Juliet Stevenson...in other words, she is unstretched...even as a rather dissolute mother. On the other hand, the remarkably young-looking, Alex Lawther is amply awkward with his burgeoning sexuality. The scene with the carrot made my new film-festival-friend wince...and provided Ms Stevenson with one of her two killer lines. Mothers know everything that goes on under the family roof.

Now, you would be forgiven in thinking...this was a story about a teenage boy who has a crush on an older teenage boy...and, it is...with the will it happen, won't it happen underpinning the entire structure...that is, until the script takes it to a different place entirely...into the middle-aged, middle-classed Mother's misery. It then falls apart and limps - lamely - to its flaccid conclusion.

My new festival-friend hated the film. I saw the unrealised potential...but, middle-class misery in the South of France is a far cry from financial desolation in Deptford. With neither empathy nor sympathy being earned, Steggall's debut feature flounders, somewhat fatally...it should have been all about him...not her!

Still, after much discussion, with my f-f-f...the next offering, woefully in the same 'cinema'...

The-fencer

The Fencer (2015, Finland | Estonia | Germany) by Klaus Härö - the Finnish candidate for the best foreign language film in 2016 Academy Awards.

I was drawn to this film simply because I was a fencer in a year that is slowly fading from memory. Fencing, the elegant violence. My f-f-f loved it, I was a little underwhelmed. For me, there was just a little too much time spent on the plucking of heartstrings rather than on the perspiring flash of fatal foils. That said, a decent film...fine for a lazy afternoon.

And, sadly, this is where my f-f-f and I parted company...she went off to watch Arabian Nights: Volume 3. For me, back to the GFT and armrests, hallelujah...

Traders

Traders (2015, Ireland) by Rachael Moriarty & Peter Murphy - the biggest surprise of the festival, thus far. 

Expect little and ye shall be rewarded. Traders could have - quite easily - gone down the wrong road. Thankfully, due to some damn fine writing that is duly saturated with natural humour, this little Indie hits it out of the park. But...it's the surprising off-kilter, well-heeled double-act of...Killian Scott and John Bradley (Game of Thrones, still not killed-off) who elevate this far and beyond those modest indie expectations...their on-screen relationship is the spark that lights the flame.

Bradley is adorable, chunky and utterly vile...played against his polar opposite, Scott's toned straightman-with-a-heart...they duck & dive, swerve & squirm, fight and kill. Both want money, need money and both will do whatever it takes to get money. They trade...in other words, they fight other 'traders' to the death...

It doesn't sound like a comedy, it's not played like a comedy...but, the humour is as dark as the darkest and sweetest treacle...and just as delicious.

Home...on a high, after disappointment and mediocrity.

Day 11...the penultimate day...

The-elite

If ever an introduction killed a film - then, this was it.

The Elite (2015, Denmark) by Thomas Daneskov was one of the few submitted films chosen to screen at the festival. Seemingly, over 300 films were submitted and less than 5 were accepted...according to the gushing introduction. Now I'm not going to dwell upon this film...because, it seems that 'Dogme 95' has been given a resurrection - albeit it in spirit rather than in name...for those that are not familiar with Dogme...it was filmmaking 'movement' that imposed ridiculous rules, e.g. no artificial lighting, hand-held camera, no soundtrack, must be in colour, ad nauseum...and, here's the rub, the director had not to be credited.

Well, Mr Daneskov is credited with his film about affluent drug addiction...so it's not Dogme...but, it does have all the trademarks of one...that's - euphemistically - saying it's crap.

I hate when a film puts you in a bad mood...time squandered. I'm going to walk it off before my next film.

Danny-Says

Danny Says (2015, USA) by Brendan Toller - I hear you ask: Who is Danny Fields? I'm asking myself the very same question. All I can say is...I'm glad I made his acquaintance. What a thoroughly interesting and - refreshingly - politically incorrect gay man.

A man who rubbed shoulders (and a few other things) with the notable faces of the day: Warhol, Morrison, Joplin, Reed, Nico - name 'em, he knew them. A thoroughly entertaining documentary that could have gone on longer and delved deeper. Mr Fields - obviously - has a few stories to tell...and, on the basis of this film, there are many who would like to hear more. Good, insightful stuff!

SMartyrso...the next film...and, I have to say that I'm not exactly looking forward to this one...having seen the gruesome original!

Martyrs (2015, USA) by Kevin Goetz & Michael Goetz - is an unnecessary (and badly interfered with) re-make. A film for those delightful little cuties, the torture-porn brigade...especially those who can't read subtitles - either due to illiteracy, myopia or laziness.

Surely, a re-make should bring something new to the table...this one brings nothing, nada, diddly-squat - if anything, it detracts and (kind of) sanitises a perfectly odious film.

Home...

Day 12...last day of the festival...

The sun is shining (this is getting to be quite a habit, Glasgow), I turn the corner and there's a significant gathering of people outside the cinema. Quite forgot...Richard Gere is in town and he's going to grace us with his presence. I sense a soupçon of celebrity panic by the organisers...get in line, you've got to be in the cinema before such-an-such a time or you will forfeit your ticket...get a grip, babies, it's only Richard Gere!

Inside, a capacity crowd...alas, Hollywood this is not. It all looks a little dingy when Hollywood comes a-knockin'. Still, the buzz is palpable. I'm feeling rather excited myself.

Time-Out-Of-Mind

Time Out of Mind (2014, USA) by Oren Moverman - a film very close to Mr Gere's heart. The first difficulty with the film is...Mr Gere's dashing good-looks, they could have roughed him up a bit...he has got to be the most handsome down & out ever to wander the streets of New York City. Get over that and you are in with a chance if you can cope with the sound...which, in my humble opinion, Moverman overdoes it...yes, we can appreciate that life on the streets is a noisy existence...but, there's noise and there's noise, rather than it being immersive, this soundscape makes you feel as if you are suffering from tinnitus. It's hard work being homeless, this film is hard-work.

And...that hard-work continued into the Q&A with the man himself...the interviewer was completely out of his depth and out of fashion. The questions he asked, good grief...IT'S A FILM FESTIVAL! We don't want to hear about Mr Gere's politics, his opinions on China! He's an actor, a wealthy one. Yes, he's a philathropist, he can afford to be...but, the audience wanted to hear about Pretty Woman, Gigolo, Chicago...thank GAWD for the woman who declared him to be the hottest man on the planet...and swooped down from the back of the cinema and enveloped the awaiting and rather enthusiastic Mr Gere...as for the finger-pointing little tousled man shouting: Whit ur yae gonna dae aboot homelisnis? Unfortunately, there is always one...

No more time for more audience questions...the finale is rapidly approaching. Mr Gere has left the building.

Anomalisa 3

The final film of the festival: Anomalisa (2015, USA) by Duke Johnson & Charlie Kaufman...

The word 'masterpiece' has been bandied about...more like misery-piece!

The animation, the detail...the production, all [almost] flawless.

But...GAWD...it goes on and on...in a downward spiral...into the pit of loneliness. Ooops, the couple beside me just walked out.

For the most part...it's mundane/monotonous...there is a brief flurry into the existential, the surreal, the absurd...where gender is fluid, neutral...and it gets you thinking - which is a good thing...then it goes all mundane/monotonous again. There's a man behind me...snoring contentedly.

It could all have been done in half the time...making it a far more effective short than a rather limp feature.

Charlie Kaufmann does depression well...however, boring the audience is not the way to go. Even the rather explicit, animated sex scene was...boring...and, to be truthful, an indulgence the film could have done without.

90 minutes of misery. Not the greatest way to end a festival - in my humble opinion.

Still...Glasgow threw many a great film at the screen...it's a festival that has grown exponentially in stature and substance...long may it continue.

Thank you to the Press Office and all the volunteers...you did good.

Stephen Fry...

...has quit Twitter!

Stephen Fry

A mighty shame...but, we understand how he feels.

The amount of abuse we receive is mind-boggling. Little people with nothing else to do.

Are You Being Served?

AGAIN!?!?

Why?

Isn't it about time that the brains behind BBC production actually thought about what they are doing!

Also on the slate for a reboot: Porridge, The Good Life, Up Pompeii! and Keeping Up Appearances.

Encourage new writing. Encourage new writers...

BBC Licence fee = £145.50 per year - for interminable repeats, an excruciating amount of weekend sport, some of the worst sitcoms ever produced & BBC3...the list is endless.

Justify yourselves...justify this out-dated, out-moded obligatory tax!

BAFTA Nominations & Winners 2016

BEST FILM

The Big Short
Bridge of Spies
The Revenant
Carol
Spotlight

BEST ACTRESS

Brie Larson – Room
Saoirse Ronan – Brooklyn
Cate Blanchett – Carol
Alicia Vikander – The Danish Girl
Maggie Smith – Lady in the Van

BEST ACTOR

Leonardo DiCaprio – The Revenant
Eddie Redmayne – The Danish Girl
Michael Fassbender – Steve Jobs
Matt Damon – The Martian
Bryan Cranston – Trumbo

BEST SUPPORTING ACTRESS

Kate Winslet – Steve Jobs
Alicia Vikander – Ex Machina
Rooney Mara – Carol
Jennifer Jason Leigh – The Hateful Eight
Julie Walters – Brooklyn

BEST SUPPORTING ACTOR

Benicio Del Toro – Sicario
Christian Bale – The Big Short
Idris Elba – Beasts of No Nation
Mark Ruffalo – Spotlight
Mark Rylance – Bridge of Spies

OUTSTANDING BRITISH FILM

45 Years - Andrew Haigh, Tristan Goligher
Amy - Asif Kapadia, James Gay-Rees
Brooklyn - John Crowley, Finola Dwyer, Amanda Posey, Nick Hornby
The Danish Girl - Tom Hooper, Tim Bevan, Eric Fellner, Anne Harrison, Gail Mutrux, Lucinda Coxon
Ex Machina - Alex Garland, Andrew Macdonald, Allon Reich
The Lobster - Yorgos Lanthimos, Ceci Dempsey, Ed Guiney, Lee Magiday, Efthimis Filippou

FILM NOT IN THE ENGLISH LANGUAGE

The Assassin - Hou Hsiao-Hsien
Force Majeure - Ruben Ostlund
Theeb Naji Abu Nowa r- Rupert Lloyd
Timbuktu - Abderrahmane Sissako
Wild Tales - Damian Szifron

DOCUMENTARY

Amy - Asif Kapadia, James Gay-Rees
Cartel Land - Matthew Heineman, Tom Yellin
He Named Me Malala - Davis Guggenheim, Walter Parkes, Laurie MacDonald
Listen to Me Marlon - Stevan Riley, John Battsek, George Chignell, R.J. Cutler
Sherpa - Jennifer Peedom, Bridget Ikin, John Smithson

ANIMATED FILM

Inside Out - Pete Docter
Minions - Pierre Coffin, Kyle Balda
Shaun the Sheep Movie - Mark Burton, Richard Starzak

DIRECTOR

The Big Short - Adam McKay
Bridge of Spies - Steven Spielberg
Carol - Todd Haynes
The Martian - Ridley Scott
The Revenant - Alejandro G. Iñarritu

CINEMATOGRAPHY

Bridge of Spies - Janusz Kaminski
Carol - Ed Lachman
Mad Max: Fury Road - John Seale
The Revenant - Emmanuel Lubezki
Sicario - Roger Deakins

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

Alex Garland (Director) Ex Machina
Debbie Tucker Green (Writer/Director) Second Coming
Naji Abu Nowar (Writer/Director) Rupert Lloyd (Producer) Theeb
Sean McAllister (Director/Producer), Elhum Shakerifar (Producer) A Syrian Love Story
Stephen Fingleton (Writer/Director) The Survivalist

ORIGINAL SCREENPLAY

Bridge of Spies - Matthew Charman, Ethan Coen, Joel Coen
Ex Machina - Alex Garland
The Hateful Eight - Quentin Tarantino
Inside Out - Josh Cooley, Pete Docter, Meg LeFauve
Spotlight - Tom McCarthy, Josh Singer

ADAPTED SCREENPLAY

The Big Short - Adam McKay, Charles Randolph
Brooklyn - Nick Hornby
Carol - Phyllis Nagy
Room - Emma Donoghue
Steve Jobs - Aaron Sorkin

EDITING

The Big Short - Hank Corwin
Bridge of Spies - Michael Kahn
Mad Max: Fury Road - Margaret Sixel
The Martian - Pietro Scalia
The Revenant - Stephen Mirrione

PRODUCTION DESIGN

Bridge of Spies - Adam Stockhausen, Rena DeAngelo
Carol - Judy Becker, Heather Loeffler
Mad Max: Fury Road - Colin Gibson, Lisa Thompson
The Martian - Arthur Max, Celia Bobak
Star Wars: The Force Awakens - Rick Carter, Darren Gilford, Lee Sandales

COSTUME DESIGN

Brooklyn - Odile Dicks-Mireaux
Carol - Sandy Powell
Cinderella - Sandy Powell
The Danish Girl - Paco Delgado
Mad Max: Fury Road - Jenny Beavan

MAKE UP & HAIR

Brooklyn - Morna Ferguson, Lorraine Glynn
Carol - Jerry DeCarlo, Patricia Regan
The Danish Girl - Jan Sewell
Mad Max: Fury Road - Lesley Vanderwalt, Damian Martin
The Revenant - Sian Grigg, Duncan Jarman, Robert Pandini

SOUND

Bridge of Spies - Drew Kunin, Richard Hymns, Andy Nelson, Gary Rydstrom
Mad Max: Fury Road - Scott Hecker, Chris Jenkins, Mark Mangini, Ben Osmo, Gregg Rudloff, David White
The Martian - Paul Massey, Mac Ruth, Oliver Tarney, Mark Taylor
The Revenant - Lon Bender, Chris Duesterdiek, Martin Hernandez, Frank A. Montaño, Jon Taylor, Randy Thom
Star Wars: The Force Awakens - David Acord, Andy Nelson, Christopher Scarabosio, Matthew Wood, Stuart Wilson

SPECIAL VISUAL EFFECTS

Ant-Man - Jake Morrison, Greg Steele, Dan Sudick, Alex Wuttke
Ex Machina - Mark Ardington, Sara Bennett, Paul Norris, Andrew Whitehurst
Mad Max: Fury Road - Andrew Jackson, Dan Oliver, Tom Wood, Andy Williams
The Martian - Chris Lawrence, Tim Ledbury, Richard Stammers, Steven Warner
Star Wars: The Force Awakens - Chris Corbould, Roger Guyett, Paul Kavanagh, Neal Scanlan

Troye Sivan: Blue Neighbourhood

WILD

Director Tim Mattia
Produced by Brandon Bonfiglio at London Alley

FOOLS

Director Tim Mattia
Produced by Brandon Bonfiglio at London Alley

TALK ME DOWN

Director Tim Mattia
Produced by Brandon Bonfiglio at London Alley

Queer Film Festivals as Activism: An International Symposium

Since the 1977 queer film festivals have proliferated across the globe and provided an opportunity for the enjoyment and popularisation of films on queer and LGBT themes that may be otherwise difficult to access in mainstream cinema. They are important events for the production of queer community. Furthermore, queer film festivals provide an alternative to a purely commercial scene providing opportunities to come together for the enjoyment of film culture and discussion. What is the role played by such festivals in nurturing visions of what a queer world could be? How important are these film festivals in articulating agendas around LGBTQ politics in different geographical and political circumstances? As new queer film festivals continue to proliferate, what needs, desires and agendas do they address? What motivates those who organise them? What roles do they play in the lives of those who attend them?

These questions and others will be addressed by this two-day international symposium at MMU. The event will bring together festival directors, programmers and academic researchers to discuss the practical, organisational, theoretical, political and cultural issues associated with queer film festivals. The symposium keynote will be presented by Dr. Skadi Loist from the University of Rostock.

Convened by Dr. Jon Binnie in the School of Science and Environment and Dr. Christian Klesse in the Department of Sociology. Since 2008, they have jointly researched the geographies of transnational geographies of LGBT and queer activism in Central and Eastern Europe. Their current research is concerned with queer film festivals as a form of cultural activism in different European cities.

International Symposium

Tickets: £20/£10, includes film screening and Bird la Bird performative artist's talk

Location: No 70 Oxford St, Manchester M1 5NH

Date: Friday 5th February

3.00pm - 5.30pm: Symposium introductions and session 1

Date: Saturday 6th February

10.00am – 6pm: All day Symposium (see below for a full schedule)

 

Acting Out screening

Tickets: FREE

Location: No 70 Oxford St, Manchester M1 5NH

Date: Friday 5th February, 5.30pm – 7.00pm 

Screening of Acting Out: 25 years of Queer Film and Community in Hamburg (Dir. Christina Magdalinou, Silvia Torneden, Ana Grillo, Germany, 2015)

 

Performative artist's talk by internationally renowned performance artist Bird la Bird

‌Tickets: FREE

Location: No 70 Oxford St, Manchester M1 5NH

Date: Saturday 6th February, 7.30pm – 9.00pm

‌Fresh from numerous international successes including a residency at the National Portrait Gallery, we are intensely excited and honoured to offer this special, one off performance from Bird la Bird. Bird la Bird is “a shell-breaking performance artist who puts the camp back in communism and the fun back in feminism”.  Under the streets of Manchester, a new plot against femme-invisibility is hatching! Be there to see it take flight, or miss out!

Bird on Film  

In her usual charismatic style Bird la Bird will present a curate’s egg of an event. In this performative artist’s talk Bird will show examples of her work that have been influenced by cinema and TV reminiscing on the impact of queer film on her life and art. Bird will show footage of her performance alongside some of her most memorable films including Orlando by Sally Potter and Raspberry Reich by Bruce LaBruce. She will also discuss the impact lesbian and queer filmmakers such as Pratibha Parmar and Campbell X have had on her life, including how she got from sitting in the audience to being on the screen.

 

 

 

PROGRAMME

  • Friday 5th February 2016
  • Venue - Annex 
  • 15.00 Introduction and welcome
  • Jon Binnie and Christian Klesse

 

  • 15:30 Keynote
  • Skadi Loist, University of Rostock - Performative Intervention: What does Lampedusa have to do with Queer Film Culture?  
  • Twenty-five years are a considerable time-span for a queer community organization.  Thus, the 2015 opening night of the Hamburg Queer Film Festival was envisioned as a moment of proud celebration of the festival’s 25th anniversary: a feature-length documentary about the festival—which will also screen in this symposium—was to be premiered, a conference on the topic of queer film culture took place and the mayor of the city was to open the festival.  However, instead of becoming a smooth glamorous night, community activists intervened and disrupted the opening.  The event and its surrounding discussions nearly sent the festival and its volunteer collective into an identity crisis.  What exactly had happened?  In a nutshell: the appearance of this local top official became the epitome of the clash of radical queer activism, neoliberal city marketing and cultural politics, that the queer film festival is positioned between.  Using this incident as an example, in this talk I will unravel the various stakeholder demands that queer community film festivals have to negotiate in order to function as platforms that champion queer film and filmmakers, remain independent and open for political and identity articulation, and at the same time, secure resources and organizational clout to stay afloat within the cultural field.  
  • 17:00 BREAK
  • 17:30  Film ScreeningVenue LB01
  • ‘Acting Out: 25 Years of Queer Film and Community in Hamburg’ (Dir. Christina Magdalinou, Silvia Torneden, Ana Grillo, Germany, 2015 85' (in German with English subtitles)

 

  • SATURDAY 6TH FEBRUARY 2016
  • Venue - Annex 

 

  • 09.00-10.40 Panel 1
  • Chair: Jackie Stacey, University of Manchester
  • ‘Guerrilla Warfare’ and Postsocialist Cultural Politics: Beijing Queer Film Festival as Social Activism (Hongwei Bao, University of Nottingham)
  • This paper focuses on the Beijing Queer Film Festival, the longest running queer film festival and one of the best known forms of queer activism in the People’s Republic of China since 2001. Through an analysis of the festival programming, event organisation and the ‘stakeholder configurations’, I discuss the guerrilla warfare’ tactics that the organisers adopt to cope with forced closure from the Chinese government, as well as the ‘postsocialist cultural politics’ that the festival advocates to critically draw on the socialist legacy and to reflect upon the global ‘pink economy’ and transnational LGBT movement. I suggest that the Beijing Queer Film Festival is situated in the global queer film festival circuit in a post-Cold-War world, but it also keeps an ambivalently critical distance from it. By selectively drawing on the socialist forms of event organisation and social mobilisation, in tandem with innovative cultural forms and pressing contemporary agendas, the Beijing Queer Film Festival represents the ‘postsocialist cultural politics’, which forms an ambivalent relationship with both the socialist ‘comrade’ past and the transnational queer present.
  • 'The Scottish Queer International Film Festival: Mapping Local and Global Contexts'  (Katharina Lindner, University of Stirling)
  • With a specific focus on the new Scottish Queer International Film Festival (SQIFF), this paper explores current manifestations of queer film culture and activism in Scotland. It situates SQIFF within the context of Scottish film culture more generally as well as in relation to the wider context of the (global) queer film festival circuit. It also traces SQIFF's various collaborative links with other (LGBTI) activist organisations and events.
  • Queer Cinema in the World (Rosalind Galt, Kings College London, and Karl Schoonover, University of Warwick)
  • Why think about queer cinema and world politics together? The scenario is familiar to those who follow LGBT politics: global queer cultures clash with local or regional politics. Violence at pride marches in India, Serbia, and South Africa raises questions about the compatibility of liberalism and cultural relativism, global citizenship and human rights, sexual identity and national sovereignty. At the same time, there has been a burgeoning of queer film festivals around the world. These festivals represent a significant way that sexual and gender dissidence makes itself visible in various cultures. In this talk, we do not merely count new queer cinemas as part of a globalized LGBT culture, but consider how queer cinema exhibition makes new worlds. Queer cinema has the potential to foster different accounts of the world, offering alternatives to capitalist aesthetics and social life. This talk examines how international queer film culture proposes new modes of being queer in the world. 

 

  • 11:00-12:40 Panel 2
  • Chair: Rosalind Galt, Kings College London
  • ‘Transnational Investments: Images of Ageing and their Reception Among LGBTQ Film Festival Audiences’ (Chris Perriam and Darren Waldron, both at the University of Manchester) 
  • We plan to present part of the outcomes of a three-year project investigating the circulation and reception of LGBTQ films between France and Spain, with a particular focus on festivals. In the project we have been considering whether and how representations from ‘abroad’ matter for audiences elsewhere and feed into their sense of self. This presentation focuses on the festival-based responses to representations of ageing among lesbians, gay men and bisexuals. We show how viewers claim to relate to the images and narratives in two films – Les Invisibles (Sébastien Lifshitz 2012) and 80 Egunean (Jon Garaño and Jose Mari Goenaga 2010) – and explore issues and problems around community, affiliation and identification. Many of the films we have looked at engage with aesthetic approaches and activist stances that specifically set out to trouble and undermine the traditional homogenous labels of lesbian and gay: the success or otherwise of this tactic will also be a strand to our presentation.
  • Transgender activist documentary at LGBTQ film festivals: Audiences and identification (Ros Murray, Queen Mary, University of London)
  • This paper presents the findings from an LGBTQ audience research project, seeking to question what it means when audience members claim to 'identify' with ideas or people that they see on screen. It looks specifically at the case of a transgender documentary, Girl or Boy, My Sex is Not My Gender (Valérie Mitteaux, France 2011), screened at the Festival Internacional de Cinema Gai i Lesbic in Barcelona. The paper explores how audience research can help to negotiate the sometimes difficult terrain in academia between activism and theory, showing us what a film can do, rather than simply represent, for the LGBTQ communities it engages with. Touching on issues of affect, narrative and film form, the paper returns to Thomas Waugh's claim that 'lesbian and gay documentarists must develop an independent set of ethical principles suitable to an oppositional or radical film practice'. The paper asks: what principles are relevant to oppositional film practice today, and how does this translate, or not, to contemporary film festival audiences, and in turn, to the academic research context?
  • Comparative Queer Methodologies and Queer Film Festival Research' (Jon Binnie and Christian Klesse, both at Manchester Metropolitan University).
  • This paper examines the methodological issues in undertaking transnational comparative research on queer film festivals. Feminist and queer postcolonial scholars have drawn critical attention to the politics of comparison in transnational gender and sexual studies, for instance, Pedwell (2010) has examined the rhetorical and material effects of comparison i.e. what is at stake when comparisons are mobilised. In urban geography, Ward (2010) has argued that a renewed critical use of the comparative can help show how experiences and conditions in one urban context can help pose questions about, and inform urban politics in others. In this paper, we explore how a focus on the queer politics of comparison can contribute towards research on queer film festivals. The paper draws on a qualitative research project, which examined 5 queer film festivals in different European cultural geopolitical contexts as sites for the production of visibility, solidarity and queer space, as well as motors for the reproduction of networks around film production, political and educational interventions. The paper discusses the challenges in conducting comparative research in queer film festivals and considers how we might think about the queering of comparison in a grounded, empirical way.

 

  • 12:40-14:00 Lunch

 

  • 14:00-16.00  Panel 3
  • Chair: Skadi Loist (University of Rostock)
  • 1)    Dagmar Brunow (Lesbisch Schwule Filmtage Hamburg/International Queer Film Festival Hamburg)
  • 2)    Alex Rumpel (Mezipatra Queer Film Festival)
  • 3)    Andrea Inzerillo (Sicilia Queer Filmfest)
  • 4)    Predrag Azdejkovic (Merlinka International Queer Film Festival)
  • 5)    Noel Sutton (GAZE International LGBT Film Festival)
  • 6)    Berwyn Rowlands (Iris Prize)

 

  • 16.00-16:30 Break

 

  • 16:30-18:30 Panel 4
  • Chair: Andy Moor (Manchester Metropolitan University)
  • 1)    Jayne Graham Cummings (Queer Vision Film Festival/Queer Film Network)
  • 2)    Theresa Heath (Wotever DIY Film Festival)
  • 3)    Nosheen Khwaja and Cloudberry MacLean (Glitch Film Festival)  
  • 4)    Jamie Starboisky (Queer Media UK)
  • 5)    Zane Hadi (Leeds Queer Film Festival)
  • 6)    Siobhan Fahey (Queerchester Films North West)
  • 7)    Jackie Stacey (Manchester Sexuality Summer School, University of Manchester) and Monica Pearl (University of Manchester)

 

  • 18:30-18:45 Summing Up
  • Jon Binnie and Christian Klesse

 

  • 19:30-21:00 Bird on Film - Performative Talk with Bird La Bird
  • Venue - LB01

Sundance 2016: Winners...

Sundance1

 

Well...looking at this list of 'winners' - it seems that every film received some kind of award! It's getting a bit ridiculous. Sundance...are you going for the longest awards ceremony in recorded history?!?!

Seriously...the only awards that matter are: The Audience Awards - it's them who pay.

Commiserations to the losers...if - indeed - there were any at all.

And...the exhausting list of winners are...

 

U.S. Dramatic Grand Jury Prize: "The Birth of a Nation"

U.S. Documentary Grand Jury Prize: "Weiner"

U.S. Documentary Directing Award: Roger Ross Williams, "Life, Animated"

U.S. Dramatic Directing Award: The Daniels (Daniel Scheinart and Daniel Kwan), "Swiss Army Man"

World Cinema Grand Jury Prize, Dramatic: "Sand Storm"

World Cinema Grand Jury Prize, Documentary: "Sonita"

U.S. Dramatic Audience Award: "The Birth of a Nation"

U.S. Documentary Audience Award: "Jim"

World Cinema Audience Award, Dramatic: "Between Sea and Land"

World Cinema Audience Award, Documentary: "Sonita"

Waldo Salt Screenwriting Award: Chad Hartigan, "Morris From America"

NEXT Audience Award: "First Girl I Loved"U.S. Dramatic Special Jury Prize: "As You Are"

U.S. Dramatic Breakthrough Performance Award: 
Joe Seo, "Spa Night"

U.S. Dramatic Individual Performance Award: Craig Robinson, "Morris From America"

U.S. Dramatic Individual Performance Award: Melanie Lynskey, "The Intervention"

U.S. Documentary Editing Award: "NUTS!"

U.S. Documentary Social Impact Filmmaking Award: "Trapped"

U.S. Documentary Writing Award: "Kate Plays Christine"

U.S. Documentary Verite Filmmaking Award: "The Bad Kids"

World Cinema Directing Award, Documentary: "All These Sleepless Nights"

World Cinema Directing Award, Dramatic: "Belgica"

World Cinema Acting Award, Dramatic: Vicky Hernandez and Manolo Cruz, "Between Land and Sea"

World Cinema Screenwriting Award, Dramatic: "Mi Amiga del Parque"

World Cinema Unique Vision and Design Award, Dramatic: "The Lure"

World Cinema Editing Award, Documentary: "We Are X"

World Cinema Cinematography Award, Documentary: "The Land of the Enlightened"

World Cinema Best First Feature Award, Documentary: "When Two Worlds Collide"

Alfred P. Sloan Prize: "Embrace of the Serpent" (announced earlier)

22nd Annual Screen Actors Guild Awards...

ScreenActorsAwards

Everyone is screaming WELL DONE SAGA for appreciating and awarding diversity...

We love, support and want more diversity...but, to award diversity for the sake of being 'diversity' is a nonsense.

Anyway...here are the nominees and winners...

Outstanding Performance by a cast in a Motion Picture

Beasts of No Nation
The Big Short
Spotlight
Straight Outta Compton
Trumbo

Outstanding Performance By a Male Actor in a Leading Role

Bryan Cranston - Trumbo
Johnny Depp - Black Mass
Leonardo Dicaprio - The Revenant
Michael Fassbender - Steve Jobs
Eddie Redmayne - The Danish Girl

Outstanding Performance By a Female Actor in a Leading Role

Cate Blanchett - Carol
Brie Larson - Room
Helen Mirren - Woman in Gold
Saoirse Ronan - Brooklyn
Sarah Silverman - I Smile Back

Outstanding Performance By a Male Actor in a Supporting Role

Christian Bale - The Big Short
Idris Elba  - Beasts Of No Nation
Mark Rylance - Bridge Of Spies
Michael Shannon - 99 Homes
Jacob Tremblay - Room

Outstanding Performance By a Female Actor in a Supporting Role

Rooney Mara - Carol
Rachel Mcadams - Spotlight
Helen Mirren - Trumbo
Alicia Vikander - The Danish Girl
Kate Winslet - Steve Jobs

Television

Outstanding Performance By an Ensemble in a Drama Series

Downton Abbey
Game Of Thrones
Homeland
House Of Cards
Mad Men

Outstanding Performance By an Ensemble in a Comedy Series

The Big Bang Theory
Key & Peele
Modern Family
Orange Is The New Black
Transparent
Veep

Outstanding Performance By a Female Actor in a Drama Series

Claire Danes - Homeland
Viola Davis - How To Get Away With Murder
Julianna Margulies - The Good Wife
Maggie Smith - Downton Abbey
Robin Wright - House Of Cards

Outstanding Performance By a Male Actor in a Drama Series

Peter Dinklage - Game Of Thrones
Jon Hamm - Mad Men
Rami Malek - Mr. Robot
Bob Odenkirk - Better Call Saul
Kevin Spacey - House Of Cards

Outstanding Performance By a Male Actor in a Comedy Series

Ty Burrell - Modern Family
Louis CK - Louie
William H. Macy - Shameless
Jim Parsons - The Big Bang Theory
Jeffrey Tambor - Transparent

Outstanding Performance By a Female Actor in a Comedy Series

Uzo Aduba - Orange Is The New Black
Edie Falco - Nurse Jackie
Ellie Kemper - Unbreakable Kimmy Schmidt
Julia Louis-Dreyfus - Veep
Amy Poehler - Parks And Recreation

Outstanding Performance By a Male Actor in a Television Movie or Miniseries

Idris Elba - Luther
Ben Kingsley - Tut
Ray Liotta - Texas Rising
Bill Murray - A Very Murray Christmas
Mark Rylance - Wolf Hall

Outstanding Performance By a Female Actor in a Television Movie or Miniseries

Nicole Kidman - Grace Of Monaco
Queen Latifah - Bessie
Christina Ricci - The Lizzie Borden Chronicles
Susan Sarandon - The Secret Life Of Marilyn Monroe
Kristen Wiig - The Spoils Before Dying

Stunts

Outstanding Action Performance By a Stunt Ensemble in a Motion Picture

Everest
Furious 7
Jurassic World
Mad Max: Fury Road
Mission: Impossible - Rogue Nation

Outstanding Action Performance By a Stunt Ensemble in a Comedy or Drama Series

The Blacklist
Game Of Thrones
Homeland
Marvel's Daredevil
The Walking Dead

Gaycation Trailer...

 

Ellen Page and her best friend, Ian Daniel, set off on a personal journey to explore LGBTQ cultures around the world. From Japan to Brazil, Jamaica and here in America, Ellen and Ian discover the multiplicity of LGBTQ experiences, meeting amazing people and hearing their deeply moving stories of struggle and triumph.

Gaycation will premiere on Viceland, Vice’s new TV network, Wednesday, March 2nd at 10PM.

GLAAD Media Awards

Glaad The nominees are:

 

Outstanding Film - Wide Release

Carol - The Weinstein Company

The Danish Girl - Focus Features

Dope - Open Road Films

Freeheld - Lionsgate

Grandma - Sony Pictures Classics

 

Outstanding Film - Limited Release

52 Tuesdays - Kino Lorber

Appropriate Behavior - Gravitas Ventures

Boy Meets Girl - Wolfe Video

Drunktown's Finest - Nehst Studios

Tangerine - Magnolia Pictures

 

Outstanding Comedy Series

Brooklyn Nine-Nine - FOX

Faking It - MTV

Grace and Frankie - Netflix

Looking - HBO

Master of None - Netflix

Modern Family - ABC

Orange Is the New Black - Netflix

Please Like Me - Pivot

Transparent - Amazon Instant Video

Vicious - PBS

 

Outstanding Drama Series

Arrow - The CW

Black Sails - Starz

Empire - FOX

The Fosters - ABC Family

Grey's Anatomy - ABC

How to Get Away with Murder - ABC

Nashville - ABC

Orphan Black - BBC America

Sense8 - Netflix

Shameless - Showtime

 

Outstanding Individual Episode (in a series without a regular LGBT character)

"Gender"The Carmichael Show - NBC

"Please Don't Ask, Please Don't Tell"Black-ish - ABC

"The Prince of Nucleotides" Royal Pains - USA Network

"Rock-a-Bye-Baby" NCIS New Orleans - CBS

"We Build, We Fight" NCIS - CBS

 

Outstanding TV Movie or Limited Series

Banana - Logo

Bessie - HBO

Cucumber - Logo

 

Outstanding Documentary

Kumu Hina - PBS

Limited Partnership - PBS

Mala Mala - Strand Releasing

Tab Hunter Confidential - The Film Collaborative

Tig - Netflix

 

Outstanding Reality Program

I Am Cait - E!

I Am Jazz - TLC

New Girls on the Block - Discovery Life

The Prancing Elites Project - Oxygen

Transcendent - Fuse

 

Outstanding Daily Drama

The Bold and The Beautiful - CBS

GALECA 2015/16 DORIAN AWARDS

Dorianawards  And the winners are...

FILM OF THE YEAR
The Big Short / Paramount, Regency
Brooklyn / Fox Searchlight
Carol / The Weinstein Company
Mad Max: Fury Road / Warner Bros., Village Roadshow
Spotlight / Open Road, Participant, First Look

DIRECTOR OF THE YEAR
(Film or Television)
Sean Baker, Tangerine / Magnolia Pictures
Todd Haynes, Carol / The Weinstein Company
Alejandro Gonzalez Iñárritu, The Revenant / Fox
Tom McCarthy, Spotlight / Open Road, Participant, First Look
George Miller, Mad Max: Fury Road / Warner Bros., Village Roadshow

PERFORMANCE OF THE YEAR — ACTRESS
Cate Blanchett, Carol / The Weinstein Company
Brie Larson, Room / A24
Rooney Mara, Carol / The Weinstein Company
Charlotte Rampling, 45 Years / Sundance Selects
Saoirse Ronan, Brooklyn / Fox Searchlight

PERFORMANCE OF THE YEAR — ACTOR
Matt Damon, The Martian / Fox
Leonardo DiCaprio, The Revenant / Fox
Michael Fassbender, Steve Jobs / Universal
Tom Hardy, Legend / Universal, Cross Creek
Eddie Redmayne, The Danish Girl / Focus, Working Title

LGBTQ FILM OF THE YEAR
Carol / The Weinstein Company
The Danish Girl / Focus, Working Title
Freeheld / Summit
Grandma / Sony Pictures Classics
Tangerine / Magnolia Pictures

FOREIGN LANGUAGE FILM OF THE YEAR
The Assassin / Central Motion Pictures, Well Go USA
Mustang / Cohen Media Group
Phoenix / Sundance Selects
Son of Saul / Sony Pictures Classics
Viva / Magnolia Pictures

SCREENPLAY OF THE YEAR
Emma Donoghue, Room / A24
Phyllis Nagy, Carol / The Weinstein Company
Charles Randolph and Adam McKay, The Big Short / Paramount, Regency
Josh Singer & Tom McCarthy, Spotlight / Open Road, Participant, First Look
Aaron Sorkin, Steve Jobs / Universal

DOCUMENTARY OF THE YEAR
(theatrical release, TV airing or DVD release)
Amy / A24
Best of Enemies / Magnolia Pictures, Magnet
Going Clear: Scientology and the Prison of Belief / HBO
Making a Murderer / Netflix
What Happened, Miss Simone? / Netflix

VISUALLY STRIKING FILM OF THE YEAR
(honoring a production of stunning beauty, from art direction to cinematography)
Carol / The Weinstein Company
The Danish Girl / Focus, Working Title
Mad Max: Fury Road / Warner Bros., Village Roadshow
The Martian / Fox
The Revenant / Fox

UNSUNG FILM OF THE YEAR
The Diary of a Teenage Girl / Sony Pictures Classics
Ex Machina / A24
Grandma / Sony Pictures Classics
Me and Earl and the Dying Girl / Fox Searchlight
Tangerine (Magnolia)

CAMPY FLICK OF THE YEAR
The Boy Next Door
Fifty Shades of Grey
Magic Mike XXL
Jupiter Ascending
Stonewall

TV DRAMA OF THE YEAR (TIE)
Fargo / FX
The Leftovers / HBO
Mad Men / AMC
Mr. Robot / USA
Orange is the New Black / Netflix

TV COMEDY OF THE YEAR
Grace and Frankie / Netflix
Master of None / Netflix
Transparent / Amazon
Unbreakable Kimmy Schmidt / Netflix
Veep / HBO

TV PERFORMANCE OF THE YEAR — ACTOR
Titus Burgess, Unbreakable Kimmy Schmidt / Netflix
Jon Hamm, Mad Men / AMC
Rami Malek, Mr. Robot / USA
Jeffrey Tambor, Transparent / Amazon
Justin Theroux, The Leftovers / HBO

TV PERFORMANCE OF THE YEAR — ACTRESS
Viola Davis, How to Get Away with Murder / ABC
Jane Fonda, Grace and Frankie / Netflix
Taraji P. Henson, Empire / Fox
Krysten Ritter, Jessica Jones / Netflix
Lily Tomlin, Grace and Frankie / Netflix

TV CURRENT AFFAIRS SHOW OF THE YEAR
Anderson Cooper 360 / CNN
The Daily Show / Comedy Central
Last Week Tonight with John Oliver / HBO
The Rachel Maddow Show / MSNBC
Real Time with Bill Maher / HBO

LGBTQ TV SHOW OF THE YEAR
Grace and Frankie / Netflix
Looking / HBO
Orange is the New Black / Netflix
Sense8 / Netflix
Transparent / Amazon

UNSUNG TV SHOW OF THE YEAR
Broad City / Comedy Central
Crazy Ex-Girlfriend / CW
Getting On / HBO
Looking / HBO
UnReal / Lifetime

TV MUSICAL MOMENT OF THE YEAR
Adele: “Hello / ” Adele Live in New York City / NBC
Aretha Franklin: “(You Make Me Feel Like) A Natural Woman,” 38th Annual Kennedy Center Honors / CBS
Lady Gaga: The Sound of Music 50th anniversary tribute, 87th Annual Academy Awards / ABC
Sydney Lucas and the Cast of Fun Home: “Ring of Keys” 69th Annual Tony Awards / CBS
John Legend and Common: “Glory” (Original song nominee, Selma): 87th Annual Academy Awards / ABC

CAMPY TV SHOW OF THE YEAR
American Horror Story: Hotel
Empire
How to Get Away with Murder
Scream Queens
Sense8

“WE’RE WILDE ABOUT YOU!” RISING STAR AWARD
Rami Malek
Kitana Kiki Rodriguez
Mya Taylor
Jacob Tremblay
Alicia Vikander

WILDE WIT OF THE YEAR
(honoring a performer, writer or commentator whose observations both challenge and amuse)
Billy Eichner
Rachel Maddow
Tig Notaro
John Oliver
Amy Schumer

WILDE ARTIST OF THE YEAR
(honoring a truly groundbreaking force in the fields of film, theater and/or television)
Andrew Haigh
Todd Haynes
Lin-Manuel Miranda
Tig Notaro
Amy Schumer
TIMELESS STAR
(to an actor or performer whose exemplary career is marked by character, wisdom and wit)
Jane Fonda (previously announced)

Razzie Nominations 2015..& Winners/Losers

All worthy winners...

WORST PICTURE

Fantastic Four
Fifty Shades of Grey
Jupiter Ascending
Paul Blart: Mall Cop 2
Pixels

WORST ACTOR

Johnny Depp, Mortdecai
Jamie Dornan, Fifty Shades of Grey
Kevin James, Paul Blart Mall Cop 2
Adam Sandler, The Cobbler and Pixels
Channing Tatum, Jupiter Ascending

WORST ACTRESS

Katherine Heigl, Home Sweet Hell
Dakota Johnson, Fifty Shades of Grey
Mila Kunis, Jupiter Ascending
Jennifer Lopez, The Boy Next Door
Gwyneth Paltrow, Mortdecai

WORST SUPPORTING ACTOR

Chevy Chase, Hot Tub Time Machine 2 and Vacation
Josh Gad, Pixels and The Wedding Ringer
Kevin James, Pixels
Jason Lee, Alvin & The Chipmunks: Road Chip
Eddie Redmayne, Jupiter Ascending

WORST SUPPORTING ACTRESS

Kaley Cuoco-Sweeting, Alvin & The Chipmunks: Road Chip and The Wedding Ringer
Rooney Mara, Pan
Michelle Monaghan, Pixels
Julianne Moore, Seventh Son
Amanda Seyfried, Love the Coopers and Pan

WORST REMAKE/RIP-OFF/SEQUEL

Alvin & The Chipmunks: Road Chip
Fantastic Four
Hot Tub Time Machine 2
Human Centipede 3 (Final Sequence)
Paul Blart Mall Cop 2

WORST SCREEN COMBO

All Four “Fantastics,” Fantastic Four
Johnny Depp and His Glued-On Moustache, Mortdecai
Jamie Dornan and Dakota Johnson, Fifty Shades of Grey
Kevin James and EITHER His Segue OR His Glued-On Moustache, Paul Blart Mall Cop 2
Adam Sandler and Any Pair of Shoes, The Cobbler

WORST DIRECTOR

Andy Fickman, Paul Blart Mall Cop 2
Tom Six, Human Centipede 3 (Final Sequence)
Sam Taylor-Johnson, Fifty Shades of Grey
Josh Trank, Fantastic Four
Andy and Lana Wachowski, Jupiter Ascending

WORST SCREENPLAY

Fantastic Four (screenplay by Simon Kinberg, Jeremy Slater and Josh Trank, Based on the Marvel comic book by Stan Lee and Jack Kirby)
Fifty Shades of Grey (screenplay by Kelly Marcel, Based on the Novel by E.L. James)
Jupiter Ascending (written by Andy and Lana Wachowski)
Paul Blart Mall Cop 2 (screenplay by Kevin James & Nick Bakay)
Pixels (screenplay by Tim Herlihy and Timothy Dowling, Story by Herlihy, Based on a Work by Patrick Jean)

RAZZIE REDEEMER AWARD

Elizabeth Banks (RAZZIE “Winner” for MOVIE 47, Multiple Hit Movies This Year)
M. Night Shyamalan (Perennial RAZZIE nominee & “winner,” director of The Visit)
Will Smith (For following up After Earth with Concussion)
Sylvester Stallone (All-Time RAZZIE Champ, award contender for Creed)

Directors Guild of America Nominations...

2016 Outstanding Directorial Achievement In A Feature Film

  • Alejandro G. Inarritu – The Revenant
  • Tom McCarthy – Spotlight
  • Adam McKay – The Big Short
  • George Miller – Mad Max: Fury Road
  • Ridley Scott – The Martian

And, this year a new award...

2016 Outstanding Directorial Achievement of a First-Time Feature Film Director

  • Fernando Coimbra – A Wolf at the Door
  • Joel Edgerton – The Gift
  • Alex Garland – Ex Machina
  • Marielle Heller – The Diary of a Teenage Girl
  • Laszlo Nemes – Son of Saul

Golden Globes Winners...

Gervais was even more painful than usual...

Can someone, somewhere please explain why The Martian is a comedy? Okay, admittedly, the whole escape-from-planet-Mars-in-a-canvas-covered-rocket-ship is a bit of a joke...but, c'mon, it's NOT a comedy! Neither is The Big Short...

Joy, a comedy? Is anyone laughing? Jennifer is...why Melissa McCarthy was even nominated is a joke.

The Revenant...best director, film and actor...for hypothermic resistance?!? A bear-skin-clad superhero...now, this one really is a comedy.

Stallone beat Rylance...that's a joke, right?!?

Steve Jobs...two wins, you cannot be serious?

All in all, not a good night for LGBT cinema...Carol, The Danish Girl, Spotlight...snubbed.

However, it was the night for television's 'bisexual' ladies, with 2 awards in the bag...Lady Gaga (beating Queen Latifah's bisexual lady) & Taraji P. Henson (beating Viola Davis' bisexual lady). Last year, the globes were all trans* - this year, bisexual women. Next year...who knows? One thing (for sure?), Gervais will offend.

The 73rd Golden Globes...a veritable feast of bad jokes and ridiculous results.


Here’s the full list of nominees & Winners for the 73rd annual Golden Globes...

Golden Globes

Best Motion Picture, Drama
Carol
Mad Max: Fury Road
The Revenant
Room
Spotlight

Best Motion Picture, Comedy
The Big Short
Joy
The Martian
Spy
Trainwreck

Best Director – Motion Picture
Todd Haynes, Carol
Alejandro Iñárritu, The Revenant
Tom McCarthy, Spotlight
George Miller, Mad Max
Ridley Scott, The Martian

Best Actress in a Motion Picture, Drama
Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Saoirse Ronan, Brooklyn
Alicia Vikander, The Danish Girl

Best Actress in a Motion Picture, Comedy
Jennifer Lawrence, Joy
Melissa McCarthy, Spy
Amy Schumer, Trainwreck
Maggie Smith, Lady in the Van
Lily Tomlin, Grandma

Best Supporting Actress in a Motion Picture
Jane Fonda, Youth
Jennifer Jason Leigh, The Hateful Eight
Helen Mirren, Trumbo
Alicia Vikander, Ex Machina
Kate Winslet, Steve Jobs

Best Actor in a Motion Picture, Drama
Bryan Cranston, Trumbo
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Will Smith, Concussion

Best Actor in a Motion Picture, Musical or Comedy
Christian Bale, The Big Short
Steve Carell, The Big Short
Matt Damon, The Martian
Al Pacino, Danny Collins
Mark Ruffalo, Infinitely Polar Bear

Best Supporting Actor in a Motion Picture
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Mark Rylance, Bridge of Spies
Michael Shannon, 99 Homes
Sylvester Stallone, Creed

Best TV Series, Drama

Empire
Game of Thrones
Mr. Robot
Narcos
Outlander

Best TV Series, Comedy
Casual
Mozart in the Jungle
Orange Is the New Black
Silicon Valley
Transparent
Veep

Best TV Movie or Limited-Series
American Crime
American Horror Story: Hotel
Fargo
Flesh and Bone
Wolf Hall

Best Actor in a TV Series, Drama
Jon Hamm, Mad Men
Rami Malek, Mr. Robot
Wagner Moura, Narcos
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan

Best Screenplay – Motion Picture
Emma Donoghue, Room
Tom McCarthy, Josh Singer, Spotlight
Charles Randolph, Adam McKay, The Big Short
Aaron Sorkin, Steve Jobs
Quentin Tarantino, The Hateful Eight

Best Animated Feature Film
Anomalisa
The Good Dinosaur
Inside Out
The Peanuts Movie
Shaun the Sheep Movie

Best Actress in a Limited-Series or TV Movie
Kirsten Dunst, Fargo
Lady Gaga, American Horror Story: Hotel
Sarah Hay, Flesh & Bone
Felicity Huffman, American Crime
Queen Latifah, Bessie

Best Supporting Actress in a Series, Limited-Series, or TV Movie
Uzo Aduba, Orange is the New Black
Joanne Froggatt, Downton Abbey
Regina King, American Crime
Judith Light, Transparent
Maura Tierney, The Affair

Best Actress in a TV Series, Comedy
Rachel Bloom, Crazy Ex Girlfriend
Jamie Lee Curtis, Scream Queens
Julia Louis Dreyfus, Veep
Gina Rodriguez, Jane the Virgin
Lilly Tomlin, Grace & Frankie

Best Supporting Actor in a Series, Limited-Series or TV Movie
Alan Cumming, The Good Wife
Damian Lewis, Wolf Hall
Ben Mendelson, Bloodline
Tobias Menzies, Outlander
Christian Slater, Mr. Robot

Best Original Song – Motion Picture
“Love Me Like You Do” 50 Shades of Grey
“One Kind of Love” Love and Mercy
“See You Again” Furious 7
“Simple Song No. 3” Youth
“Writing’s on the Wall” Spectre

Best Original Score
Carter Burwell, Carol
Alexandre Desplat, The Danish Girl
Ennio Morricone, The Hateful Eight
Daniel Pemberton, Steve Jobs
Ryuichi Sakamoto Alva Noto, The Revenant

Best Motion Picture, Foreign Language
The Brand New Testament
The Club
The Fencer
Mustang
Son of Saul

David Bowie...

Our tribute to this great, great man...who changed lives...for the better.

His first film role...

The Image is a 1969 black and white short film directed by Michael Armstrong with starring Michael Byrne and David Bowie in his first film role. The film is one of the few short films ever to receive a certified 'X' Rating and it gained this rating due to its violent content.

All-time DOMESTIC GROSSES...

 
Adjusted for Ticket Price Inflation

Source: http://www.boxofficemojo.com/alltime/adjusted.htm January 2016

Note: This chart only shows the top 200 movies, regardless of sorting.

Rank

Title

Studio

Adjusted Gross

Unadjusted Gross

Year^

1

Gone with the Wind

MGM

$1,739,604,200

$198,676,459

1939^

2

Star Wars

Fox

$1,533,609,700

$460,998,007

1977^

3

The Sound of Music

Fox

$1,226,196,400

$158,671,368

1965

4

E.T.: The Extra-Terrestrial

Uni.

$1,221,365,800

$435,110,554

1982^

5

Titanic

Par.

$1,166,435,200

$658,672,302

1997^

6

The Ten Commandments

Par.

$1,127,910,000

$65,500,000

1956

7

Jaws

Uni.

$1,102,758,600

$260,000,000

1975

8

Doctor Zhivago

MGM

$1,068,806,300

$111,721,910

1965

9

The Exorcist

WB

$952,258,800

$232,906,145

1973^

10

Snow White and the Seven Dwarfs

Dis.

$938,490,000

$184,925,486

1937^

11

101 Dalmatians

Dis.

$860,287,500

$144,880,014

1961^

12

The Empire Strikes Back

Fox

$845,335,300

$290,475,067

1980^

13

Ben-Hur

MGM

$843,780,000

$74,000,000

1959

14

Avatar

Fox

$837,367,900

$760,507,625

2009^

15

Return of the Jedi

Fox

$809,851,500

$309,306,177

1983^

16

Jurassic Park

Uni.

$791,448,000

$402,453,882

1993^

17

Star Wars: Episode I - The Phantom Menace

Fox

$777,587,000

$474,544,677

1999^

18

The Lion King

BV

$767,550,700

$422,783,777

1994^

19

The Sting

Uni.

$767,520,000

$156,000,000

1973

20

Raiders of the Lost Ark

Par.

$762,215,600

$248,159,971

1981^

21

The Graduate

AVCO

$736,815,800

$104,945,305

1967^

22

Fantasia

Dis.

$715,004,300

$76,408,097

1941^

23

Star Wars: The Force Awakens

BV

$686,425,600

$686,425,583

2015

24

Jurassic World

Uni.

$680,636,600

$652,270,625

2015

25

The Godfather

Par.

$679,523,300

$134,966,411

1972^

26

Forrest Gump

Par.

$676,854,200

$330,252,182

1994^

27

Mary Poppins

Dis.

$673,145,500

$102,272,727

1964^

28

Grease

Par.

$662,704,800

$188,755,690

1978^

29

Marvel's The Avengers

BV

$661,947,300

$623,357,910

2012

30

Thunderball

UA

$644,028,000

$63,595,658

1965

31

The Dark Knight

WB

$641,060,600

$534,858,444

2008^

32

The Jungle Book

Dis.

$634,384,100

$141,843,612

1967^

33

Sleeping Beauty

Dis.

$625,740,800

$51,600,000

1959^

34

Ghostbusters

Col.

$612,805,800

$242,212,467

1984^

35

Shrek 2

DW

$611,748,500

$441,226,247

2004

36

Butch Cassidy and the Sundance Kid

Fox

$607,503,100

$102,308,889

1969

37

Love Story

Par.

$602,684,000

$106,397,186

1970

38

Spider-Man

Sony

$598,263,700

$403,706,375

2002

39

Independence Day

Fox

$596,405,000

$306,169,268

1996^

40

Home Alone

Fox

$583,191,400

$285,761,243

1990

41

Pinocchio

Dis.

$580,342,700

$84,254,167

1940^

42

Cleopatra (1963)

Fox

$578,449,600

$57,777,778

1963

43

Beverly Hills Cop

Par.

$578,161,700

$234,760,478

1984

44

Goldfinger

UA

$570,843,000

$51,081,062

1964

45

Airport

Uni.

$569,218,200

$100,489,151

1970

46

American Graffiti

Uni.

$565,800,000

$115,000,000

1973

47

The Robe

Fox

$563,563,600

$36,000,000

1953

48

Pirates of the Caribbean: Dead Man's Chest

BV

$556,450,200

$423,315,812

2006

49

Around the World in 80 Days

UA

$556,338,500

$42,000,000

1956

50

Bambi

RKO

$548,564,200

$102,247,150

1942^

51

Blazing Saddles

WB

$544,493,200

$119,601,481

1974^

52

Batman

WB

$542,039,300

$251,188,924

1989

53

The Bells of St. Mary's

RKO

$540,235,300

$21,333,333

1945

54

The Lord of the Rings: The Return of the King

NL

$530,717,800

$377,845,905

2003^

55

Finding Nemo

BV

$530,259,900

$380,843,261

2003^

56

The Towering Inferno

Fox

$528,444,400

$116,000,000

1974

57

Spider-Man 2

Sony

$517,966,800

$373,585,825

2004

58

My Fair Lady

WB

$516,600,000

$72,000,000

1964

59

The Greatest Show on Earth

Par.

$516,600,000

$36,000,000

1952

60

National Lampoon's Animal House

Uni.

$515,655,200

$141,600,000

1978^

61

The Passion of the Christ

NM

$514,058,700

$370,782,930

2004^

62

Star Wars: Episode III - Revenge of the Sith

Fox

$510,784,700

$380,270,577

2005^

63

Back to the Future

Uni.

$508,426,100

$210,609,762

1985

64

The Lord of the Rings: The Two Towers

NL

$497,014,700

$342,551,365

2002^

65

The Dark Knight Rises

WB

$495,779,300

$448,139,099

2012

66

The Sixth Sense

BV

$495,756,300

$293,506,292

1999

67

Superman

WB

$493,853,500

$134,218,018

1978

68

Tootsie

Col.

$489,942,900

$177,200,000

1982

69

Smokey and the Bandit

Uni.

$489,331,500

$126,737,428

1977

70

West Side Story

MGM

$481,904,200

$43,656,822

1961

71

Harry Potter and the Sorcerer's Stone

WB

$481,410,800

$317,575,550

2001

72

Lady and the Tramp

Dis.

$479,877,400

$93,602,326

1955^

73

Close Encounters of the Third Kind

Col.

$478,505,400

$132,088,635

1977^

74

Lawrence of Arabia

Col.

$476,852,400

$44,824,144

1962^

75

The Rocky Horror Picture Show

Fox

$474,147,700

$112,892,319

1975

76

Rocky

UA

$473,894,200

$117,235,147

1976

77

The Best Years of Our Lives

RKO

$473,550,000

$23,650,000

1946

78

The Poseidon Adventure

Fox

$472,705,900

$84,563,118

1972

79

The Lord of the Rings: The Fellowship of the Ring

NL

$471,821,800

$315,544,750

2001^

80

Twister

WB

$470,864,800

$241,721,524

1996

81

Men in Black

Sony

$470,249,600

$250,690,539

1997

82

The Bridge on the River Kwai

Col.

$468,384,000

$27,200,000

1957

83

Transformers: Revenge of the Fallen

P/DW

$464,087,000

$402,111,870

2009

84

It's a Mad, Mad, Mad, Mad World

MGM

$463,867,300

$46,332,858

1963

85

Swiss Family Robinson

Dis.

$463,286,900

$40,356,000

1960

86

One Flew Over the Cuckoo's Nest

UA

$462,230,900

$108,981,275

1975

87

M.A.S.H.

Fox

$462,221,000

$81,600,000

1970

88

Indiana Jones and the Temple of Doom

Par.

$460,917,600

$179,870,271

1984

89

Avengers: Age of Ultron

BV

$460,868,500

$459,005,868

2015

90

Star Wars: Episode II - Attack of the Clones

Fox

$460,363,500

$310,676,740

2002^

91

Mrs. Doubtfire

Fox

$453,612,500

$219,195,243

1993

92

Aladdin

BV

$451,528,600

$217,350,219

1992

93

Toy Story 3

BV

$449,458,100

$415,004,880

2010

94

Ghost

Par.

$443,115,600

$217,631,306

1990

95

The Hunger Games: Catching Fire

LGF

$440,097,100

$424,668,047

2013

96

Duel in the Sun

Selz.

$439,285,700

$20,408,163

1946

97

The Hunger Games

LGF

$437,932,700

$408,010,692

2012

98

Pirates of the Caribbean: The Curse of the Black Pearl

BV

$436,087,000

$305,413,918

2003

99

House of Wax

WB

$435,079,800

$23,750,000

1953

100

Rear Window

Par.

$433,554,300

$36,764,313

1954^

101

The Lost World: Jurassic Park

Uni.

$429,724,700

$229,086,679

1997

102

Indiana Jones and the Last Crusade

Par.

$425,476,000

$197,171,806

1989

103

Monsters, Inc.

BV

$424,930,400

$289,916,256

2001^

104

Frozen

BV

$422,243,200

$400,738,009

2013

105

Spider-Man 3

Sony

$421,152,000

$336,530,303

2007

106

Iron Man 3

BV

$420,239,900

$409,013,994

2013

107

Terminator 2: Judgment Day

TriS

$418,931,400

$204,843,345

1991

108

Sergeant York

WB

$414,340,700

$16,361,885

1941

109

How the Grinch Stole Christmas

Uni.

$414,199,800

$260,044,825

2000

110

Top Gun

Par.

$413,495,900

$179,800,601

1986^

111

Harry Potter and the Deathly Hallows Part 2

WB

$413,193,100

$381,011,219

2011

112

Toy Story 2

BV

$411,872,400

$245,852,179

1999^

113

Shrek

DW

$407,172,400

$267,665,011

2001

114

Shrek the Third

P/DW

$403,869,000

$322,719,944

2007

115

Despicable Me 2

Uni.

$403,758,200

$368,061,265

2013

116

The Matrix Reloaded

WB

$402,052,000

$281,576,461

2003

117

Transformers

P/DW

$399,521,800

$319,246,193

2007

118

Crocodile Dundee

Par.

$397,803,200

$174,803,506

1986

119

The Four Horsemen of the Apocalypse

MPC

$395,357,100

$9,183,673

1921

120

Saving Private Ryan

DW

$393,882,300

$216,540,909

1998

121

Young Frankenstein

Fox

$393,023,000

$86,273,333

1974

122

Peter Pan

Dis.

$392,818,600

$87,404,651

1953^

123

Gremlins

WB

$391,601,400

$153,083,102

1984^

124

Beauty and the Beast

BV

$390,581,600

$218,967,620

1991^

125

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

BV

$388,967,200

$291,710,957

2005

126

Harry Potter and the Goblet of Fire

WB

$388,959,100

$290,013,036

2005

127

Pirates of the Caribbean: At World's End

BV

$387,225,300

$309,420,425

2007

128

Harry Potter and the Chamber of Secrets

WB

$386,725,700

$261,988,482

2002

129

The Fugitive

WB

$382,260,900

$183,875,760

1993

130

The Caine Mutiny

Col.

$382,178,600

$21,750,000

1954

131

Iron Man

Par.

$381,817,000

$318,412,101

2008

132

Transformers: Dark of the Moon

P/DW

$381,086,300

$352,390,543

2011

133

Meet the Fockers

Uni.

$380,329,700

$279,261,160

2004

134

Indiana Jones and the Kingdom of the Crystal Skull

Par.

$380,256,400

$317,101,119

2008

135

Toy Story

BV

$377,706,300

$191,796,233

1995^

136

Dances with Wolves

Orion

$376,250,900

$184,208,848

1990

137

An Officer and a Gentleman

Par.

$375,885,500

$129,795,554

1982

138

2001: A Space Odyssey

MGM

$373,127,400

$56,954,992

1968^

139

Rain Man

MGM

$372,741,500

$172,825,435

1988

140

Guess Who's Coming to Dinner

Col.

$372,442,800

$56,666,667

1967

141

Inside Out

BV

$371,871,000

$356,461,711

2015

142

American Sniper

WB

$370,918,800

$350,126,372

2014

143

Kramer Vs. Kramer

Col.

$370,404,300

$106,260,000

1979

144

Armageddon

BV

$370,061,400

$201,578,182

1998

145

Psycho

Uni.

$367,360,100

$32,000,000

1960

146

Rocky III

UA

$366,039,100

$125,049,125

1982^

147

Harry Potter and the Order of the Phoenix

WB

$365,430,300

$292,004,738

2007

148

Rambo: First Blood Part II

TriS

$364,810,400

$150,415,432

1985

149

Batman Forever

WB

$364,254,700

$184,031,112

1995

150

Pretty Woman

BV

$363,139,000

$178,406,268

1990

151

Earthquake

Uni.

$362,925,900

$79,666,653

1974

152

Alice in Wonderland (2010)

BV

$361,935,300

$334,191,110

2010

153

The Incredibles

BV

$361,877,900

$261,441,092

2004

154

Cast Away

Fox

$360,709,000

$233,632,142

2000

155

Home Alone 2: Lost in New York

Fox

$360,325,000

$173,585,516

1992

156

Three Men and a Baby

BV

$359,069,500

$167,780,960

1987

157

My Big Fat Greek Wedding

IFC

$356,621,700

$241,438,208

2002

158

Guardians of the Galaxy

BV

$354,538,800

$333,176,600

2014

159

Furious 7

Uni.

$353,214,900

$353,007,020

2015

160

Mission: Impossible

Par.

$352,546,100

$180,981,856

1996

161

The Hunger Games: Mockingjay - Part 1

LGF

$350,658,600

$337,135,885

2014

162

Minions

Uni.

$350,580,300

$336,045,770

2015

163

Saturday Night Fever

Par.

$349,606,800

$94,213,184

1977

164

On Golden Pond

Uni.

$349,431,100

$119,285,432

1981

165

Austin Powers: The Spy Who Shagged Me

NL

$349,213,600

$206,040,086

1999

166

Harry Potter and the Half-Blood Prince

WB

$348,456,400

$301,959,197

2009

167

Bruce Almighty

Uni.

$346,726,400

$242,829,261

2003

168

Harry Potter and the Prisoner of Azkaban

WB

$345,982,100

$249,541,069

2004

169

Funny Girl

Col.

$344,739,700

$52,223,306

1968^

170

Mission: Impossible II

Par.

$344,096,300

$215,409,889

2000

171

Rush Hour 2

NL

$344,041,400

$226,164,286

2001

172

Apollo 13

Uni.

$343,175,100

$173,837,933

1995^

173

Patton

Fox

$343,010,000

$61,749,765

1970

174

Fatal Attraction

Par.

$341,651,200

$156,645,693

1987

175

Liar Liar

Uni.

$340,293,100

$181,410,615

1997

176

Robin Hood: Prince of Thieves

WB

$338,456,700

$165,493,908

1991

177

Beverly Hills Cop II

Par.

$338,377,500

$153,665,036

1987

178

Iron Man 2

Par.

$338,371,200

$312,433,331

2010

179

Up

BV

$338,147,200

$293,004,164

2009

180

Batman Returns

WB

$337,826,700

$162,831,698

1992

181

Signs

BV

$337,801,700

$227,966,634

2002

182

Superman II

WB

$335,064,400

$108,185,706

1981

183

The Twilight Saga: New Moon

Sum.

$335,015,800

$296,623,634

2009

184

What's Up, Doc?

WB

$334,270,600

$66,000,000

1972

185

9 to 5

Fox

$330,606,400

$103,290,500

1980

186

The Firm

Par.

$329,318,700

$158,348,367

1993

187

Who Framed Roger Rabbit

BV

$327,750,600

$156,452,370

1988

188

Skyfall

Sony

$325,819,600

$304,360,277

2012

189

The Hobbit: An Unexpected Journey

WB (NL)

$325,748,200

$303,003,568

2012

190

The Twilight Saga: Eclipse

Sum.

$325,481,500

$300,531,751

2010

191

Porky's

Fox

$324,787,900

$111,289,673

1982^

192

Air Force One

Sony

$324,361,700

$172,956,409

1997

193

Stir Crazy

Col.

$324,235,300

$101,300,000

1980

194

A Star Is Born (1976)

WB

$323,380,300

$80,000,000

1976

195

There's Something About Mary

Fox

$322,691,000

$176,484,651

1998

196

Cars

BV

$320,848,000

$244,082,982

2006

197

The Hangover

WB

$319,998,400

$277,322,503

2009

198

Lethal Weapon 2

WB

$319,359,400

$147,253,986

1989

199

Night at the Museum

Fox

$318,928,200

$250,863,268

2006

200

Harry Potter and the Deathly Hallows Part 1

WB

$318,476,900

$295,983,305

2010

Hookup...

This is interesting...effective and honest.

Made and submitted anonymously...what a strange idea!

Taking Dogme to an other level...why?


Takeaway Scenes: The Rule...

I. Scenes are composed of 2-5 actors, no exceptions. 

II. Scene scripts must be adapted from a stageplay or originally written.

III. Scenes must be filmed in a single continuous take. No cuts. No cheating.

IV. Camera submits to the performers. It should not inflict itself upon them. 

V. Film lights are prohibited. Only natural lighting or practicals allowed (e.g. a lamp, a fire, car headlights).

VI. Participating actors must write their own character backstories.

VII. After shooting, the favored take must be selected within 24 hours with the actors present to review takes if they desire and are available. 

VIII. No music may be added in post.

IX. There will never be credits for anyone involved. Participants will never publicly reveal or acknowledge their own involvement with a scene, or release any information that would reveal anyone else’s involvement with the Takeaway Scenes project.

X. Scenes will only be featured on official Takeaway Scenes channels with a distinct number/word moniker. 


Principles

I. Honesty is king. 

II. Perfection does not exist. There is only experimentation.

III. There are no schedules, regular events, or deadlines. There are only scenes, and the people crazy enough to make them.

Website: http://www.takeawayscenes.com/

Teddy @ 30...

Teddyaward Black

The only official LGBTIQ film prize at an A-festival in the world is celebrating its 30th anniversary: the Teddy Award. An offshoot of the Panorama, the prize has been awarded since 1987 in the categories Short Film, Documentary and Feature to works relevant to queer culture. Eligible every year are films from all of the Berlinale sections. Meanwhile, the award has achieved international significance. This year’s anniversary programme will present a total of 16 films.

1 Berlin Harlem – Germany (Federal Republic), 1974
By Lothar Lambert, Wolfram Zobus

Legendary film from super-indy filmmaker Lambert, one time most-featured Berlinale director, about the forms of racism in Berlin’s vibrant lifestyle at the time of the film's making. Brimming with cameos galore: alongside leading actor Conrad Jennings the likes of Ortrud Beginnen, Tally Brown, Ingrid Caven, Peter Chatel, Rainer Werner Fassbinder, Günter Kaufmann, Dietmar Kracht, Evelyn Künneke, Lothar Lambert, Y Sa Lo, Bernd Lubowski, Brigitte Mira, Vera Müller can all be seen.

 

Anders als die Andern (Different from the Others) - Germany, 1919
By Richard Oswald

A significant world premiere: realised by the Outfest UCLA Legacy Project/UCLA Film & Television Archive, the newly-restored version of this cultural document of immeasurable value is screened for the first time – in a 35mm print, still the only reliable archive medium.

 

Before Stonewall – USA, 1984
By Greta Schiller, Robert Rosenberg
Info-Schau (former title of Panorama) 1985

The legendary film from Greta Schiller reveals a lot which is missing from Roland Emmerich's Stonewall - but nevertheless agrees with him in quite a few details. The world "before Stonewall", the beginning of the post-war gay rights movement: the German portrait of this dark Adenauer era in which homosexuals were transferred directly from concentration camps to West German correctional facilities and have not been rehabilitated is yet to come.
Greta Schiller later gained renown with Paris Was A Woman which she screened together with her partner and screenwriter Andrea Weiß in the 1996 Panorama.

 

Die Betörung der Blauen Matrosen (The Enchantment of the Blue Sailors) - Germany (Federal Republic), 1975
By Ulrike Ottinger

Ulrike Ottinger won the Special Teddy Award in 2014 for her incomparable lifetime achievement, of which this enchanting queer film is an early example even before her groundbreaking films Madame X and Bildnis einer Trinkerin (Ticket of No Return).

 

Die Wiese der Sachen (The Meadow of Things) - Germany (Federal Republic), 1974-1987
By Heinz Emigholz
Panorama / Teddy Award winner 1988

At a time when New German Cinema still appeared to be elusive, this artist and architect amongst West German filmmakers inspired with strikingly visual collages, associative streams and intellectual juxtapositions. An important work from an important German filmmaker.

 

Gendernauts - Eine Reise durch die Geschlechter (Gendernauts - A Journey Through Shifting Identities) - Germany, 1999
By Monika Treut
Panorama / Teddy Award winner 1999

One of the early researchers into the walled-in, gender-dualistic world of female and male, Monika Treut is at once a pioneer and veteran of Queer Cinema - an icon of the emancipation movement. She has screened numerous works in Panorama.

 

I Shot Andy Warhol – USA, 1996
By Mary Harron

The attempted assassination of Andy Warhol from the perspective of Factory member, artist, writer and publisher of the S.C.U.M. Manifesto Valerie Solanas. Mary Harron's debut film was produced by Christine Vachon who, with her Killer Films production company, has produced many works screened at the Berlinale and Teddy Award winners including all of Todd Haynes' films.

 

Je, tu, il, elle (I, You, He, She) - France / Belgium, 1974
By Chantal Akerman

In her boundary-breaking feature debut Chantal Akermann herself plays a young woman who seeks to address her experience of isolation through the study of other individuals. In tribute to Chantal Akerman, Panorama is screening two of her films: alongside Je, tu, il, elle, her Panorama film from 1983, Toute une nuit (A Whole Night).

 

Looking for Langston - United Kingdom, 1989
By Isaac Julien
Panorama / Teddy Award winner 1989

Now a star of the video art world, Isaac Julien has always first and foremost been a poetical activist, aesthete and cultural historian in the service of emancipation. This montage of archive material, dramatised scenes and literary texts creates an image of black gay identity exemplified by the life and work of Langston Hughes during the “Harlem Renaissance” in 1930s and 1940s New York City.

 

Machboim (Hide and Seek) – Israel, 1979
By Dan Wolman
Info-Schau (former title of Panorama) 1980

Today it is exactly the same as 36 years ago: love between Arabs and Jews is punished, hate and murder are accepted as normality. Dan Wolman casts a brave early look at this never-to-be-accepted situation.

 

Marble Ass – Federal Republic of Yugoslavia, 1995
By Želimir Žilnik
Panorama / Teddy Award winner 1995

Žilnik counters the homophobia and transphobia of Balkan societies which came to light years after the fall of the Berlin Wall with an early and anarchistic stand in what is still, to this day, one of the most extraordinary films to emerge from the entire region

 

Nitrate Kisses – USA, 1992
By Barbara Hammer
Forum 1993

A never seen in this way before, sensitively creative conquest of the female sexual realm, radically beyond the prescriptions of mainstream culture. Barbara Hammer has screened many of her works at the Berlinale.

 

The Watermelon Woman – USA, 1996
By Cheryl Dunye
Panorama / Teddy Award winner 1996

Racist tendencies might appear to have been expunged from emancipation and gender discourse – but this is far from being the case. The racism inherent in mainstream culture is not necessarily recognised as such by alternative thinkers. Dunye takes a stance with a reflection on a representative figure of this complex issue.

 

Tongues Untied – USA, 1989
By Marlon Riggs
Panorama / Teddy Award winner 1990

An early work of queer black emancipation from the then beacon of hope in the Afro-American gay rights movement – another artist and intellectual who died far too young from AIDS.

 

Toute une nuit (A Whole Night) - France / Belgium, 1982
By Chantal Akerman
Info-Schau (former title of Panorama) 1983

The director at the forefront of the post-war gender debate was already present in only the third year of the Info-Schau with this film. Virtuoso atmospheres between people and things, between spirit and world and time and space distinguish the work of this passionate artist who took her own life in October 2015. Panorama is screening two films in tribute to Chantal Akerman: alongside Toute une nuit, her debut from 1974, the radical Je, tu, il, elle (I, You, He, She).

 

Tras el cristal (In a Glass Cage) – Spain, 1987
By Agustí Vilaronga

A scandalous film at the time of making: an old Nazi and his young carer in Spain. A truly dark work about dark subject matters, the concealment and unrepentant nature of the post-fascist Spanish world when it had not yet begun to grapple analytically and politically with those grim times. In 2000 Vilaronga won the Manfred Salzgeber Prize with El Mar.

Sundance 2016...

Sundance1

The Midnight films have been announced and more films will be announced soon; watch sundance.org/festival.

U.S. DRAMATIC COMPETITION
Presenting the world premieres of 16 narrative feature films, the Dramatic Competition offers Festivalgoers a first look at groundbreaking new voices in American independent film.

As You Are / U.S.A. (Director: Miles Joris-Peyrafitte, Screenwriters: Miles Joris-Peyrafitte, Madison Harrison) — As You Are is the telling and retelling of a relationship between three teenagers as it traces the course of their friendship through a construction of disparate memories prompted by a police investigation. Cast: Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson. World Premiere

The Birth of a Nation / U.S.A. (Director and screenwriter: Nate Parker) — Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr. World Premiere

Christine / U.S.A. (Director: Antonio Campos, Screenwriter: Craig Shilowich) — In 1974, a female TV news reporter aims for high standards in life and love in Sarasota, Florida. Missing her mark is not an option. This story is based on true events. Cast: Rebecca Hall, Michael C. Hall, Maria Dizzia, Tracy Letts, J. Smith-Cameron. World Premiere

Equity / U.S.A. (Director: Meera Menon, Screenwriter: Amy Fox) — A female investment banker, fighting to get a promotion at her competitive Wall Street firm, leads a controversial tech IPO in the post-financial-crisis world, where regulations are tight but pressure to bring in big money remains high. Cast: Anna Gunn, James Purefoy, Sarah Megan Thomas, Alysia Reiner. World Premiere

The Free World / U.S.A. (Director and screenwriter: Jason Lew) — Following his release from a brutal stretch in prison for crimes he didn’t commit, Mo is struggling to adapt to life on the outside. When his world collides with Doris, a mysterious woman with a violent past, he decides to risk his newfound freedom to keep her in his life. Cast: Boyd Holbrook, Elisabeth Moss, Octavia Spencer, Sung Kang, Waleed Zuaiter. World Premiere

Goat / U.S.A. (Director: Andrew Neel, Screenwriters: David Gordon Green, Andrew Neel, Michael Roberts) — Reeling from a terrifying assault, a 19-year-old boy pledges his brother’s fraternity in an attempt to prove his manhood. What happens there, in the name of "brotherhood," tests both the boys and their relationship in brutal ways. Cast: Nick Jonas, Ben Schnetzer, Virginia Gardner, Danny Flaherty, Austin Lyon. World Premiere

The Intervention / U.S.A. (Director and screenwriter: Clea DuVall) — A weekend getaway for four couples takes a sharp turn when one of the couples discovers the entire trip was orchestrated to host an intervention on their marriage. Cast: Melanie Lynskey, Cobie Smulders, Alia Shawkat, Clea DuVall, Natasha Lyonne, Ben Schwartz. World Premiere

Joshy / U.S.A. (Director and screenwriter: Jeff Baena) — Josh treats what would have been his bachelor party as an opportunity to reconnect with his friends. Cast: Thomas Middleditch, Adam Pally, Alex Ross Perry, Nick Kroll, Brett Gelman, Jenny Slate. World Premiere

Lovesong / U.S.A. (Director: So Yong Kim, Screenwriters: So Yong Kim, Bradley Rust Gray) — Neglected by her husband, Sarah embarks on an impromptu road trip with her young daughter and her best friend, Mindy. Along the way, the dynamic between the two friends intensifies before circumstances force them apart. Years later, Sarah attempts to rebuild their intimate connection in the days before Mindy’s wedding. Cast: Jena Malone, Riley Keough, Brooklyn Decker, Amy Seimetz, Ryan Eggold, Rosanna Arquette. World Premiere

Morris from America / U.S.A., Germany (Director and screenwriter: Chad Hartigan) — Thirteen-year-old Morris, a hip-hop loving American, moves to Heidelberg, Germany, with his father. In this completely foreign land, he falls in love with a local girl, befriends his German tutor-turned-confidant, and attempts to navigate the unique trials and tribulations of adolescence. Cast: Markees Christmas, Craig Robinson, Carla Juri, Lina Keller, Jakub Gierszał, Levin Henning. World Premiere

Other People / U.S.A. (Director and screenwriter: Chris Kelly) — A struggling comedy writer, fresh from breaking up with his boyfriend, moves to Sacramento to help his sick mother. Living with his conservative father and younger sisters, David feels like a stranger in his childhood home. As his mother worsens, he tries to convince everyone (including himself) he's "doing okay." Cast: Jesse Plemons, Molly Shannon, Bradley Whitford, Maude Apatow, Zach Woods, June Squibb. World Premiere. DAY ONE FILM

Southside With You / U.S.A. (Director and screenwriter: Richard Tanne) — Southside With You is a chronicle of the summer afternoon in 1989 when the future president of the United States of America, Barack Obama, wooed his future First Lady on an epic first date across Chicago's South Side. Cast: Tika Sumpter, Parker Sawyers, Vanessa Bell Calloway. World Premiere

Spa Night / U.S.A. (Director and screenwriter: Andrew Ahn) — A young Korean-American man works to reconcile his obligations to his struggling immigrant family with his burgeoning sexual desires in the underground world of gay hookups at Korean spas in Los Angeles. Cast: Joe Seo, Haerry Kim, Youn Ho Cho, Tae Song, Ho Young Chung, Linda Han. World Premiere

Swiss Army Man / U.S.A. (Directors and screenwriters: Daniel Scheinert, Daniel Kwan) — Hank, a hopeless man stranded in the wild, discovers a mysterious dead body. Together the two embark on an epic journey to get home. As Hank realizes the body is the key to his survival, this once-suicidal man is forced to convince a dead body that life is worth living. Cast: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead. World Premiere

Tallulah / U.S.A. (Director and screenwriter: Sian Heder) — A rootless young woman takes a toddler from a wealthy, negligent mother and passes the baby off as her own in an effort to protect her. This decision connects and transforms the lives of three very different women. Cast: Ellen Page, Allison Janney, Tammy Blanchard, Evan Jonigkeit, Uzo Aduba. World Premiere

White Girl / U.S.A. (Director and screenwriter: Elizabeth Wood) — Summer, New York City: A college student goes to extremes to get her drug dealer boyfriend out of jail. Cast: Morgan Saylor, Brian 'Sene' Marc, Justin Bartha, Chris Noth, India Menuez, Adrian Martinez. World Premiere


U.S. DOCUMENTARY COMPETITION
Sixteen world-premiere American documentaries that illuminate the ideas, people, and events that shape the present day.

Audrie & Daisy / U.S.A. (Directors: Bonni Cohen, Jon Shenk) — After two high school girls in different towns are sexually assaulted by boys they consider friends, online bullying leads each girl to attempt suicide. Tragically, one dies. Assault in the social media age is explored from the perspectives of the girls and boys involved, as well as their torn-apart communities. World Premiere

Author: The JT LeRoy Story / U.S.A. (Director: Jeff Feuerzeig) — As the definitive look inside the mysterious case of 16-year-old literary sensation JT LeRoy—a creature so perfect for his time that if he didn't exist, someone would have had to invent him—this is the strangest story about story ever told. World Premiere

The Bad Kids / U.S.A. (Directors: Keith Fulton, Lou Pepe) — At a remote Mojave Desert high school, extraordinary educators believe that empathy and life skills, more than academics, give at-risk students command of their own futures. This coming-of-age story watches education combat the crippling effects of poverty in the lives of these so-called "bad kids." World Premiere

Gleason / U.S.A. (Director: Clay Tweel) — At the age of 34, Steve Gleason, former NFL defensive back and New Orleans hero, was diagnosed with ALS. Doctors gave him two to five years to live. So that is what Steve chose to do: Live—both for his wife and newborn son and to help others with this disease. World Premiere

Holy Hell / U.S.A. (Director: undisclosed) — Just out of college, a young filmmaker joins a loving, secretive, and spiritual community led by a charismatic teacher in 1980s West Hollywood. Twenty years later, the group is shockingly torn apart. Told through two decades of the filmmaker’s archival materials, this is their story. World Premiere

How to Let Go of the World (and Love All the Things Climate Can't Change) / U.S.A. (Director: Josh Fox) — Do we have a chance to stop the most destructive consequences of climate change, or is it too late? Academy Award-nominated director Josh Fox (Gasland) travels to 12 countries on six continents to explore what we have to let go of—and all of the things that climate can't change. World Premiere

Jim / U.S.A. (Director: Brian Oakes) — The public execution of American conflict journalist James Foley captured the world’s attention, but he was more than just a man in an orange jumpsuit. Seen through the lens of his close childhood friend, Jim moves from adrenaline-fueled front lines and devastated neighborhoods of Syria into the hands of ISIS. World Premiere

Kate Plays Christine / U.S.A. (Director: Robert Greene) — This psychological thriller follows actor Kate Lyn Sheil as she prepares to play the role of Christine Chubbuck, a Florida television host who committed suicide on air in 1974. Christine’s tragic death was the inspiration for Network, and the mysteries surrounding her final act haunt Kate and the production. World Premiere

Kiki / U.S.A., Sweden (Director: Sara Jordenö) — Through a strikingly intimate and visually daring lens, Kiki offers a riveting, complex insight into a safe space created and governed by LGBTQ youths of color, who are demanding happiness and political power. The film is an exciting coming-of-age story about agency, resilience, and the transformative art form of voguing. World Premiere

Life, Animated / U.S.A. (Director: Roger Ross Williams) — Owen Suskind, an autistic boy who could not speak for years, slowly emerged from his isolation by immersing himself in Disney animated movies. Using these films as a roadmap, he reconnects with his loving family and the wider world in this emotional coming-of-age story. World Premiere

Newtown / U.S.A. (Director: Kim A. Snyder) — After joining the ranks of a growing club no one wants to belong to, the people of Newtown, Connecticut, weave an intimate story of resilience. This film traces the aftermath of the worst mass shooting of schoolchildren in American history as the traumatized community finds a new sense of purpose. World Premiere

NUTS! / U.S.A. (Director: Penny Lane) — The mostly true story of Dr. John Romulus Brinkley, an eccentric genius who built an empire with his goat-testicle impotence cure and a million-watt radio station. Animated reenactments, interviews, archival footage, and one seriously unreliable narrator trace his rise from poverty to celebrity and influence in 1920s America. World Premiere

Suited / U.S.A. (Director: Jason Benjamin) — Bindle & Keep, a Brooklyn tailoring company, makes custom suits for a growing legion of gender-nonconforming clients. World Premiere

Trapped / U.S.A. (Director: Dawn Porter) — American abortion clinics are in a fight for survival. Targeted Regulation of Abortion Providers (TRAP) laws are increasingly being passed by states that maintain they ensure women’s safety and health, but as clinics continue to shut their doors, opponents believe the real purpose of these laws is to outlaw abortion. World Premiere

Uncle Howard / U.S.A., United Kingdom (Director: Aaron Brookner)Howard Brookner's first film, Burroughs: The Movie, captured the cultural revolution of downtown New York City in the early '80s. Twenty-five years after his promising career was cut short by AIDS, his nephew sets out to discover Howard's never-before-seen films to create a cinematic elegy about his childhood idol. World Premiere

Weiner / U.S.A. (Directors: Josh Kriegman, Elyse Steinberg) — With unrestricted access to Anthony Weiner's New York City mayoral campaign, this film reveals the human story behind the scenes of a high-profile political scandal as it unfolds, and offers an unfiltered look at how much today's politics is driven by an appetite for spectacle. World Premiere


WORLD CINEMA DRAMATIC COMPETITION
Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles.

Belgica / Belgium, France, Netherlands (Director: Felix van Groeningen, Screenwriters: Felix van Groeningen, Arne Sierens) — In the midst of Belgium's nightlife scene, two brothers start a bar and get swept up in its success. Cast: Stef Aerts, Tom Vermeir, Charlotte Vandermeersch, Hélène De Vos. World Premiere. DAY ONE FILM

Between Sea and Land / Colombia (Directors: Manolo Cruz, Carlos del Castillo, Screenwriter: Manolo Cruz) — Alberto, who suffers from an illness that binds him into a body that doesn’t obey him, lives with his loving mom, who dedicates her life to him. His sickness impedes him from achieving his greatest dream of knowing the sea, despite one being located just across the street. Cast: Manolo Cruz, Vicky Hernandéz, Viviana Serna, Jorge Cao, Mile Vergara, Javier Sáenz. World Premiere

Brahman Naman / United Kingdom, India (Director: Q, Screenwriter: S. Ramachandran) — When Bangalore University’s misfit quiz team manages to get into the national championships, they make an alcohol-fueled, cross-country journey to the competition, determined to defeat their arch-rivals from Calcutta while all desperately trying to lose their virginity. Cast: Shashank Arora, Tanmay Dhanania, Chaitanya Varad, Vaiswath Shankar, Sindhu Sreenivasa Murthy, Sid Mallya. World Premiere

A Good Wife / Serbia, Bosnia, Croatia (Director: Mirjana Karanovic, Screenwriters: Mirjana Karanovic, Stevan Filipovic, Darko Lungulov) — When 50-year-old Milena finds out about the terrible past of her seemingly ideal husband, while simultaneously learning of her own cancer diagnosis, she begins an awakening from the suburban paradise she has been living in. Cast: Mirjana Karanovic, Boris Isakovic, Jasna Djuricic, Bojan Navojec, Hristina Popovic, Ksenija Marinkovic. World Premiere

Halal Love (and Sex) / Lebanon, Germany, United Arab Emirates (Director and screenwriter: Assad Fouladkar) — Four tragic yet comic interconnected stories come together in this film, which follows devout Muslim men and women as they try to manage their love lives and desires without breaking any of their religion’s rules. Cast: Darine Hamze, Rodrigue Sleiman, Zeinab Khadra, Hussein Mokadem, Mirna Moukarzel, Ali Sammoury. International Premiere

The Lure / Poland (Director: Agnieszka Smoczynska, Screenwriter: Robert Bolesto) — Two mermaid sisters, who end up performing at a nightclub, face cruel and bloody choices when one of them falls in love with a beautiful young man. Cast: Marta Mazurek, Michalina Olszanska, Jakub Gierszal, Kinga Preis, Andrzej Konopka, Zygmunt Malanowicz. International Premiere

Male Joy, Female Love / China (Director and screenwriter: Yao Huang) — Portrays an unlimited cycle of love stories. Cast: Nan Yu, Daizhen Ying, Xiaodong Guo, Yi Sun. World Premiere

Mammal / Ireland, Luxembourg, Netherlands (Director: Rebecca Daly, Screenwriters: Rebecca Daly, Glenn Montgomery) — After Margaret, a divorcée living in Dublin, loses her teenage son, she develops an unorthodox relationship with Joe, a homeless youth. Their tentative trust is threatened by his involvement with a violent gang and the escalation of her ex-husband's grieving rage. Cast: Rachel Griffiths, Barry Keoghan, Michael McElhatton. World Premiere

Mi Amiga del Parque / Argentina, Uruguay (Director: Ana Katz, Screenwriters: Ana Katz, Inés Bortagaray) — Running away from a bar without paying the bill is just the first adventure for Liz (mother to newborn Nicanor) and Rosa (supposed mother to newborn Clarisa). This budding friendship between nursing mothers starts with the promise of liberation but soon ends up being a dangerous business. Cast: Julieta Zylberberg, Ana Katz, Maricel Álvarez, Mirella Pascual, Malena Figó, Daniel Hendler. International Premiere

Much Ado About Nothing / Chile (Director: Alejandro Fernández, Screenwriters: Alejandro Fernández, Jerónimo Rodríguez) — An upper-class kid gets in trouble with the one percent. Cast: Agustín Silva, Alejandro Goic, Luis Gnecco, Paulina García, Daniel Alcaino, Augusto Schuster. World Premiere

Sand Storm / Israel (Director and screenwriter: Elite Zexer) — When their entire lives are shattered, two Bedouin women struggle to change the unchangeable rules, each in her own individual way. Cast: Lamis Ammar, Ruba Blal-Asfour, Hitham Omari, Khadija Alakel, Jalal Masrwa. World Premiere

Wild / Germany (Director and screenwriter: Nicolette Krebitz) — An anarchist young woman breaks the tacit contract with civilization and fearlessly decides on a life without hypocrisy or an obligatory safety net. Cast: Lilith Stangenberg, Georg Friedrich. World Premiere


WORLD CINEMA DOCUMENTARY COMPETITION
Twelve documentaries by some of the most courageous and extraordinary international filmmakers working today.
Eleven documentaries are listed below, and a twelfth will be announced in the weeks ahead.

All These Sleepless Nights / Poland (Director: Michal Marczak) — What does it mean to be truly awake in a world that seems satisfied to be asleep? Kris and Michal push their experiences of life and love to a breaking point as they restlessly roam the streets of Warsaw in search for answers. World Premiere

A Flag Without a Country / Iraq (Director: Bahman Ghobadi) — This documentary follows the very separate paths of singer Helly Luv and pilot Nariman Anwar from Kurdistan, both in pursuit of progress, freedom, and solidarity. Both individuals are a source of strength to their society, which perpetually deals with the harsh conditions of life, war, and ISIS attacks. North American Premiere

Hooligan Sparrow / China, U.S.A. (Director: Nanfu Wang) — Traversing southern China, a group of activists led by Ye Haiyan, a.k.a. Hooligan Sparrow, protest a scandalous incident in which a school principal and a government official allegedly raped six students. Sparrow becomes an enemy of the state, but detentions, interrogations and evictions can’t stop her protest from going viral. World Premiere

The Land of the Enlightened / Belgium (Director: Pieter-Jan De Pue) — A group of Kuchi children in Afghanistan dig out old Soviet mines and sell the explosives to child workers in a lapis lazuli mine. When not dreaming of an Afghanistan after the American withdrawal, Gholam Nasir and his gang control the mountains where caravans are smuggling the blue gemstones. World Premiere

The Lovers and the Despot / United Kingdom (Directors: Robert Cannan, Ross Adam) — Following the collapse of their glamorous romance, a celebrity director and his actress ex-wife are kidnapped by movie-obsessed dictator Kim Jong-il. Forced to make films in extraordinary circumstances, they get a second chance at love—but only one chance at escape. World Premiere

Plaza de la Soledad / Mexico (Director: Maya Goded) — For over 20 years, photographer Maya Goded has intimately documented the lives of a close community of prostitutes in Mexico City. With dignity and humor, these women now strive for a better life — and the possibility of true love. World Premiere

The Settlers / France, Canada, Israel, Germany (Director: Shimon Dotan) — The first film of its kind to offer a comprehensive view of the Jewish settlements in the West Bank, The Settlers is a historical overview, geopolitical study, and intimate look at the people at the core of the most daunting challenge facing Israel and the international community today. World Premiere

Sky Ladder: The Art of Cai Guo-Qiang / U.S.A. (Director: Kevin Macdonald) — Having reached the pinnacle of the global art world with his signature explosion events and gunpowder drawings, world-famous Chinese contemporary artist Cai Guo-Qiang is still seeking more. We trace his rise from childhood in Mao’s China and his journey to attempt to realize his lifelong obsession, Sky Ladder. World Premiere. DAY ONE FILM

Sonita / Germany, Iran, Switzerland (Director: Rokhsareh Ghaem Maghami) — If 18-year-old Sonita had a say, Michael Jackson and Rihanna would be her parents and she'd be a rapper who tells the story of Afghan women and their fate as child brides. She finds out that her family plans to sell her to an unknown husband for $9,000. North American Premiere

We Are X / United Kingdom, U.S.A., Japan (Director: Stephen Kijak) — As glam rock's most flamboyant survivors, X Japan ignited a musical revolution in Japan during the late '80s with their melodic metal. Twenty years after their tragic dissolution, X Japan’s leader, Yoshiki, battles with physical and spiritual demons alongside prejudices of the West to bring their music to the world. World Premiere

When Two Worlds Collide / Peru (Directors: Heidi Brandenburg, Mathew Orzel) — An indigenous leader resists the environmental ruin of Amazonian lands by big business. As he is forced into exile and faces 20 years in prison, his quest reveals conflicting visions that shape the fate of the Amazon and the climate future of our world. World Premiere


NEXT
Pure, bold works distinguished by an innovative, forward-thinking approach to storytelling populate this program. Digital technology paired with unfettered creativity promises that the films in this section will shape a “greater” next wave in American cinema. Presented by Adobe.

THE 4TH / U.S.A. (Director and screenwriter: Andre Hyland) — It's the Fourth of July in Los Angeles, and Jamie, a broke illustrator who is behind on his rent, tries to throw a cookout while his overbearing roommate is out of town, but everything seems to go wrong. Cast: Andre Hyland, Johnny Pemberton, Eliza Coupe, Yasmine Kittles, Anna Lee Lawson, Paul Erling Oyen. World Premiere

Dark Night / U.S.A. (Director and screenwriter: Tim Sutton) — A suburban landscape plays witness to the inevitable, unfolding events that culminate in a Cineplex massacre. Over the course of one day, from sunrise to midnight, six strangers—the shooter among them—share in this new American nightmare. Cast: Robert Jumper, Anna Rose, Rosie Rodriguez, Karina Macias, Aaron Purvis, Eddie Cacciola. World Premiere

The Eyes of My Mother / U.S.A. (Director and screenwriter: Nicolas Pesce) — A young, lonely woman is consumed by her deepest and darkest desires after tragedy strikes her quiet country life. Cast: Kika Magalhães, Will Brill, Paul Nazak, Flora Diaz, Clara Wong, Diana Agostini. World Premiere

First Girl I Loved / U.S.A. (Director and screenwriter: Kerem Sanga) — Seventeen-year-old Anne just fell in love with Sasha, the most popular girl at her L.A. public high school. But when Anne tells her best friend, Clifton—who has always harbored a secret crush on her—he does his best to get in the way. Cast: Dylan Gelula, Brianna Hildebrand, Mateo Arias, Jennifer Prediger, Tim Heidecker, Pamela Adlon. World Premiere

The Fits / U.S.A., Italy (Director: Anna Rose Holmer, Screenwriters: Anna Rose Holmer, Saela Davis, Lisa Kjerulff) — In this psychological portrait, Toni, an 11-year-old tomboy, is assimilating into a tight-knit dance team in Cincinnati’s West End when a mysterious outbreak of fainting spells plagues the team, and her desire for acceptance is twisted. Cast: Royalty Hightower, Alexis Neblett, Da'Sean Minor, Lauren Gibson, Makyla Burnam, Inayah Rodgers. North American Premiere

How To Tell You're A Douchebag / U.S.A. (Director and screenwriter: Tahir Jetter) — This romantic comedy follows a misogynist who falls in love. Cast: Charles Brice, DeWanda Wise, William Jackson Harper, Alexander Mulzac, Jenna Williams, Tonye Patano. World Premiere

Jacqueline (Argentine) / U.S.A. (Director and screenwriter: Bernardo Britto) — A young French woman hires a man to document her self-imposed political asylum in Argentina after supposedly leaking highly confidential government secrets. Cast: Camille Rutherford, Wyatt Cenac, James Benson, Martin Anderson, Sarah Willis, Enrique Dura. World Premiere

The Land / U.S.A. (Director and screenwriter: Steven Caple Jr.) — Four teenage boys devote their summer to escaping the streets of Cleveland, Ohio, by pursuing a dream life of professional skateboarding. But when they get caught in the web of the local queenpin, their motley brotherhood is tested, threatening to make this summer their last. Cast: Jorge Lendeborg Jr., Moises Arias, Rafi Gavron, Ezri Walker, Erykah Badu, Michael K. Williams. World Premiere

Operation Avalanche / U.S.A., Canada (Director: Matt Johnson, Screenwriters: Matt Johnson, Josh Boles) — In 1967, four undercover CIA agents were sent to NASA posing as a documentary film crew. What they discovered led to one of the biggest conspiracies in American history. Cast: Matt Johnson, Owen Williams, Josh Boles, Ray James. World Premiere

Sleight / U.S.A. (Director: JD Dillard, Screenwriters: JD Dillard, Alex Theurer) — After a young street magician is left to care for his little sister following their mother's passing, he turns to dealing drugs, but quickly runs into trouble with his supplier. When his sister gets kidnapped, he must rely on his smarts and sleight of hand to save her. Cast: Jacob Latimore, Dulé Hill, Seychelle Gabriel, Storm Reid, Sasheer Zamata, Cameron Esposito. World Premiere

Oscar buzz...

...it was announced that two transgender actresses will be the subject of campaigns for the Best Actress and Best Supporting Actress Award this year.

Magnolia Pictures are putting forward Kitana Kiki Rodriguez and Mya Taylor...stars of Tangerine

Tangerine

Now...we liked the film...but, Oscars?!?

The acting was decidedly dodgy in places - with one performance being far dodgier than the other.

The iPhone film was a bit of a gimmick...this is just taking it a bit too far.

Trans*kid doc wins BAFTA...

IamLeo

I am Leo was shown last year on the BBC's kids' channel and has now scooped the Bafta at the British Academy Children’s Awards in the Factual category.

So, we watched it...and all we could see was a publicity-seeking, 13 year old with a flesh tunnel...at 13 years old!!!

Parenting skills...discuss!

Cate Blanchett...

....wants ‘diversity of same-sex couples in film

How sweet of you to say so...

Cate Blanchett

Soon to be seen in Carol...which is out on in the US on November 20 and the UK on November 27.

Xavier & Adele...together again...

AdeleXavier

Adele and Xavier are chatting...about her feature film debut.

The project is to be Dolan's first English-language fim...a drama: The Death and Life of John F. Donovan

Sounds rather interesting...

Rose vs Caitlyn...

RoseCait

Rose McGowan [Charmed] is none too pleased with Caitlyn Jenner...

Jenner said at her acceptance speech for Glamour magazine’s Woman of the Year Award...“the hardest part about being a woman is deciding what to wear”

Rose McGowan replied: "Woman of the year? Not by a f**king long shot’"

 

Emile Griffith biopic...

Emilegriffith

Lenny Abrahamson is planning a film about the bisexual boxer...who pummeled his opponent into unconciousness...he died 10 days later.

Deadline reported Abrahamson as commenting, ‘It is so rich that it’s hard to know where to start. As a character study, Griffith is incredibly compelling. There was a gentleness and innocence about him, and he never seemed conflicted about his sexuality; indeed he found joy in it. He inhabited two worlds — the underground gay scene in New York in the ’60s and the macho world of boxing. The societal stigma at that time was dreadful and created a crushing pressure on him.

‘You look at how closely his two worlds intersected. Just how different are they, when the sport is such a celebration of the male body and the beauty of its athleticism. Go one step further, and inject the tiniest sense of sexuality, and people are up in arms. Griffith himself once said a quote that just floored me. ‘They forgave me for killing a man, but they couldn’t forgive me for loving a man.’ That to me was so powerful and such a crazy contradiction. And it is still relevant today.’

The film will be based on the Donald McRae book A Man’s World: The Double Life of Emile Griffith.

Hopefully, it will be more a more accurate retelling of his story than the 2005 documentary:

Ring of Fire - The Emile Griffith Story

Ron Nyswaner...

...can you please: Shut the f**k up...

RonNyswaner

Writer of Philadelphia and the tepidly received Freeheld...went on a rampage last week at the Vanguard Awards Gala...

We must be careful — as we become mainstream — that we don’t forget we’re the descendants of outlaws and rebels. We must resist the tendency to be de-gayed. One of my recent gay-themed projects had a lot of potential. But the producers became fearful. The gay characters were idealized. Their edges were smoothed out. The conflict between them was softened. Over my vigorous objections by the way, for the record.

Well said.

But now...he has back-tracked...

At last week’s Vanguard Awards Gala, in the glare of the spotlight and the excitement of the moment, I made some remarks that need to be corrected and explained. In a speech that was meant to be a reflection on internalized gay-shame and self-censorship, I denigrated the courage and integrity of my colleagues on the movie Freeheld. These comments were inaccurate and unfair. The producers never suggested that the characters should be anything but thoroughly and proudly gay. We disagreed over the amount of conflict that should be present in their relationship; I won some arguments and lost others. The movie is satisfying and beautiful in many ways, particularly in the performances of the leads. The script that made it to the screen is weaker than it ought to have been and for that I must accept responsibility. I apologize to my colleagues for the pain my comments have caused.

So...shut the f**k up.

How Straight Am I?

BBC3 continues to bombard us with...

...drivel and children masquerading as presenters...

Tyger Drew-Honey is straight...as if anyone cared...skims the surface of modern-day sexuality...

Tennessee Williams biopic...

TennesseeWilliams

Broad Green Pictures is developing a film based on John Lahr’s book, Tennessee Williams: Mad Pilgrimage of the Flesh.

It may happen, it may not...no 'names' as yet are attached.

Johnny Depp...

...has just said that all his characters are gay...

JohnnyDepp

James Bulger - the gangster he portrays in Black Mass...ain't gonna be too happy about that!

In the Heart of the Sea trailer...

...only because we love Ben Whishaw...

 

Intheheartofthesea

 

In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville's Moby-Dick. But that told only half the story. "In the Heart of the Sea" reveals the encounter's harrowing aftermath, as the ship's surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.

Pansexual Deadpool...

Co-creator Fabian Nicieza said, “Deadpool is whatever sexual inclination his brain tells him he is in THAT moment. And then the moment passes. Not trying to be dismissive, but readers always want to ‘make a character their own’ and often that is to the exclusion of what the character might mean to other fans. I’ve been dogged with the DP sexuality questions for YEARS. It is a bit tiring. He is NO sex and ALL sexes. He is yours and everyone else’s. So not dismissive, but rather the epitome of inclusive.”

Deadpool Movie Logo

Deadpool will be out in pansexual cinemas in February 2016...

Does pansexual mean that bisexuals are - now - extinct?

 

GLAAD...

...can you please shut the f**k up!!!

Michelle Rodriguez

Michelle Rodgriguez's new film: Tomboy, A Revenger’s Tale (which hasn't even started shooting)...has upset that bizarre institution known as GLAAD (what do they actually do?!? Apart from watching too much TV)...

GlaadGLAAD released a statment to The Hollywood Reporter expressing their discontent.

GLAAD’s director of programs for transgender media, Nick Adams, said, “We haven’t read the script, but it’s disappointing to see filmmakers turning what is a life-saving medical procedure for transgender people into a sensationalistic plot device.

“We are at a crucial moment in the public’s understanding of transgender issues, and stories like these have the potential to undermine the progress we’ve worked so hard to achieve.”

A hitman is turned into a hitwoman...that's the plot! Dire, to say the least...aren't you all getting yourselves into a super-sensitive lather about nothing...!

Read the f**king script before you comment...yes, the world is - most definitely - going mad.

John Gielgud wrote a porn film...

...and it's been made!!!

Gielgud

Trouser Bar has been made by David McGillivray (producer of Peter de Rome: Grandfather of Gay Porn)...however, it is unlikely ever to be seen. John Gielgud's estate claim ownership of the copyright...in other words - they want money!!!

Is it a big deal?

No...anyone can write porn...really, they can...even dirty old Knights.

Mr Gielgud was infamously overheard...saying to a stage-hand: I want you to go woosh all over my face!!!

There's a line (and a film) we can do without.

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