Adam Stephen Kelly hits a homer his first time up to the plate.
Done In is a Film Debut Done Right
Wednesday, 30 November 2016
Sundance Film Festival 2017: In-Competition Film Selection Revealed
Every new year brings us another Sundance Film Festival and with 50 days left until Sundance 2017 kicks off on January 19th, it's time to find out what's playing this year. Sundance has revealed their 2017 selection of In-Competition films, including both documentaries and features, as well as films in the ultra low-budget NEXT category. Featured in five different categories are 66 individual films that will be showing at world's greatest, snowiest film festival in January. The rest of the major premieres will be revealed soon, including all the Midnight films and other big Premieres in January. Plenty of unique films to choose from here, including a documentary about the Gawker trial and a film about encountering a long-lost elephant.
To dive in, browse through the first few selections of Sundance 2017 films - visit Sundance.org for details.
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.
Band Aid (Director & Screenwriter: Zoe Lister-Jones) — A couple who can't stop fighting embark on a last-ditch effort to save their marriage: turning their fights into songs and starting a band. Cast: Zoe Lister-Jones, Adam Pally, Fred Armisen, Susie Essman, Hannah Simone, Ravi Patel.
Beach Rats (Director & Screenwriter: Eliza Hittman) — An aimless teenager on the outer edges of Brooklyn struggles to escape his bleak home life and navigate questions of self-identity, as he balances his time between his delinquent friends, a potential new girlfriend, and older men he meets online.Cast: Harris Dickinson, Madeline Weinstein, Kate Hodge, Neal Huff.
Brigsby Bear (Director: Dave McCary, Screenwriters: Kevin Costello, Kyle Mooney) — Brigsby Bear Adventures is a children's TV show produced for an audience of one: James. When the show abruptly ends, James's life changes forever, and he sets out to finish the story himself. Cast: Kyle Mooney, Claire Danes, Mark Hamill, Greg Kinnear, Matt Walsh, Michaela Watkins.
Burning Sands (Director: Gerard McMurray, Screenwriters: Christine Berg, Gerard McMurray) — Deep into a fraternity's Hell Week, a favored pledge is torn between honoring a code of silence or standing up against the intensifying violence of underground hazing. Cast: Trevor Jackson, Alfre Woodard, Steve Harris, Tosin Cole, DeRon Horton, Trevante Rhodes.
Crown Heights (Director & Screenwriter: Matt Ruskin) — When Colin Warner is wrongfully convicted of murder, his best friend, Carl King, devotes his life to proving Colin's innocence. Adapted from This American Life, this is the incredible true story of their harrowing quest for justice. Cast: Keith Stanfield, Nnamdi Asomugha, Natalie Paul, Bill Camp, Nestor Carbonell, Amari Cheatom.
Golden Exits (Director & Screenwriter: Alex Ross Perry) — The arrival of a young foreign girl disrupts the lives and emotional balances of two Brooklyn families. Cast: Emily Browning, Adam Horovitz, Mary-Louise Parker, Lily Rabe, Jason Schwartzman, Chloë Sevigny.
The Hero (Director: Brett Haley, Screenwriters: Brett Haley, Marc Basch) — Lee, a former Western film icon, is living a comfortable existence lending his golden voice to advertisements and smoking weed. After receiving a lifetime achievement award and unexpected news, Lee reexamines his past, while a chance meeting with a sardonic comic has him looking to the future. Cast: Sam Elliott, Laura Prepon, Krysten Ritter, Nick Offerman, Katherine Ross.
I Don't Feel at Home in This World Anymore (Director & Screenwriter: Macon Blair) — When a depressed woman is burglarized, she finds a new sense of purpose by tracking down the thieves, alongside her obnoxious neighbor. But they soon find themselves dangerously out of their depth against a pack of degenerate criminals. Cast: Melanie Lynskey, Elijah Wood, David Yow, Jane Levy, Devon Graye.
Ingrid Goes West (Director: Matt Spicer, Screenwriters: Matt Spicer, David Branson Smith) — A young woman becomes obsessed with an Instagram lifestyle blogger and moves to Los Angeles to try and befriend her in real life. Cast: Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr., Wyatt Russell, Billy Magnussen.
Landline (Director: Gillian Robespierre, Screenwriters: Elisabeth Holm, Gillian Robespierre) — Two sisters come of age in ’90s New York when they discover their dad’s affair—and it turns out he’s not the only cheater in the family. Everyone still smokes inside, no one has a cell phone and the Jacobs finally connect through lying, cheating and hibachi. Cast: Jenny Slate, John Turturro, Edie Falco, Abby Quinn, Jay Duplass, Finn Wittrock.
Novitiate (Director & Screenwriter: Maggie Betts) — In the early 1960s, during the Vatican II era, a young woman training to become a nun struggles with issues of faith, sexuality and the changing church. Cast: Margaret Qualley, Melissa Leo, Julianne Nicholson, Dianna Agron, Morgan Saylor.
Patti Cake$ (Director & Screenwriter: Geremy Jasper) — Straight out of Jersey comes Patricia Dombrowski, a.k.a. Killa P, a.k.a. Patti Cake$, an aspiring rapper fighting through a world of strip malls and strip clubs on an unlikely quest for glory. Cast: Danielle Macdonald, Bridget Everett, Siddharth Dhananjay, Mamoudou Athie, Cathy Moriarty.
Roxanne Roxanne (Director & Screenwriter: Michael Larnell) — The most feared battle emcee in early-'80s NYC was a fierce teenager from the Queensbridge projects with the weight of the world on her shoulders. At age 14, hustling the streets to provide for her family, Roxanne Shanté was well on her way to becoming a hip-hop legend. Cast: Chanté Adams, Mahershala Ali, Nia Long, Elvis Nolasco, Kevin Phillips, Shenell Edmonds.
To the Bone (Director & Screenwriter: Marti Noxon) — In a last-ditch effort to battle her severe anorexia, 20-year-old Ellen enters a group recovery home. With the help of an unconventional doctor, Ellen and the other residents go on a sometimes-funny, sometimes-harrowing journey that leads to the ultimate question—is life worth living? Cast: Lily Collins, Keanu Reeves, Carrie Preston, Lili Taylor, Alex Sharp, Liana Liberato.
Walking Out (Directors & Screenwriters: Alex Smith, Andrew Smith) — A father and son struggle to connect on any level until a brutal encounter with a predator in the heart of the wilderness leaves them both seriously injured. If they are to survive, the boy must carry his father to safety. Cast: Matt Bomer, Josh Wiggins, Bill Pullman, Alex Neustaedter, Lily Gladstone.
The Yellow Birds (Director: Alexandre Moors, Screenwriter: David Lowery) — Two young men enlist in the army and are deployed to fight in the Gulf War. After an unthinkable tragedy, the surviving soldier struggles to balance his promise of silence with the truth and a mourning mother’s search for peace. Cast: Tye Sheridan, Jack Huston, Alden Ehrenreich, Jason Patric, Toni Collette, Jennifer Aniston.
U.S. Documentary Competition:
Sixteen world-premiere American documentaries that illuminate the ideas, people, and events that shape the present day.
Casting JonBenet (Director: Kitty Green) — The unsolved death of six-year-old American beauty queen JonBenet Ramsey remains the world’s most sensational child murder case. Over 15 months, responses, reflections and performances were elicited from the Ramsey’s Colorado hometown community, creating a bold work of art from the collective memories and mythologies the crime inspired.
Chasing Coral / U.S.A. (Director: Jeff Orlowski) — Coral reefs around the world are vanishing at an unprecedented rate. A team of divers, photographers and scientists set out on a thrilling ocean adventure to discover why and to reveal the underwater mystery to the world.
City of Ghosts / U.S.A. (Director: Matthew Heineman) — With unprecedented access, this documentary follows the extraordinary journey of "Raqqa is Being Slaughtered Silently"—a group of anonymous citizen journalists who banded together after their homeland was overtaken by ISIS—as they risk their lives to stand up against one of the greatest evils in the world today.
Dina / U.S.A. (Directors: Dan Sickles, Antonio Santini) — An eccentric suburban woman and a Walmart door-greeter navigate their evolving relationship in this unconventional love story.
Dolores (Director: Peter Bratt) — Dolores Huerta bucks 1950s gender conventions by co-founding the country’s first farmworkers' union. Wrestling with raising 11 children, gender bias, union defeat and victory, and nearly dying after a San Francisco Police beating, Dolores emerges with a vision that connects her newfound feminism with racial and class justice.
The Force (Director: Pete Nicks) — This cinema verité look at the long-troubled Oakland Police Department goes deep inside their struggles to confront federal demands for reform, a popular uprising following events in Ferguson and an explosive scandal.
Icarus (Director: Bryan Fogel) — When Bryan Fogel sets out to uncover the truth about doping in sports, a chance meeting with a Russian scientist transforms his story from a personal experiment into a geopolitical thriller involving dirty urine, unexplained death and Olympic Gold—exposing the biggest scandal in sports history.
The New Radical (Director: Adam Bhala Lough) — Uncompromising millennial radicals from the United States and the United Kingdom attack the system through dangerous technological means, which evolves into a high-stakes game with world authorities in the midst of a dramatically changing political landscape.
Nobody Speak: Hulk Hogan, Gawker and Trials of a Free Press (Director: Brian Knappenberger) — The trial between Hulk Hogan and Gawker Media pitted privacy rights against freedom of the press, and raised important questions about how big money can silence media. This film is an examination of the perils and duties of the free press in an age of inequality.
Quest (Director: Jonathan Olshefski) — For over a decade, this portrait of a North Philadelphia family and the creative sanctuary offered by their home music studio was filmed with vérité intimacy. The family's 10-year journey is an illumination of race and class in America, and it's a testament to love, healing and hope.
Step (Director: Amanda Lipitz) — The senior year of a girls’ high school step team in inner-city Baltimore is documented, as they try to become the first in their families to attend college. The girls strive to make their dancing a success against the backdrop of social unrest in their troubled city.
Strong Island (Director: Yance Ford) — Examining the violent death of the filmmaker’s brother and the judicial system that allowed his killer to go free, this documentary interrogates murderous fear and racialized perception, and re-imagines the wreckage in catastrophe’s wake, challenging us to change.
Trophy (Director: Shaul Schwarz, Co-Director: Christina Clusiau) — This in-depth look into the powerhouse industries of big-game hunting, breeding and wildlife conservation in the U.S. and Africa unravels the complex consequences of treating animals as commodities.
Unrest (Director: Jennifer Brea) — When Harvard PhD student Jennifer Brea is struck down at 28 by a fever that leaves her bedridden, doctors tell her it’s "all in her head." Determined to live, she sets out on a virtual journey to document her story—and four other families' stories—fighting a disease medicine forgot.
Water & Power: A California Heist / U.S.A. (Director: Marina Zenovich) — In California's convoluted water system, notorious water barons find ways to structure a state-engineered system to their own advantage. This examination into their centers of power shows small farmers and everyday citizens facing drought and a new, debilitating groundwater crisis.
Whose Streets? / U.S.A. (Director: Sabaah Folayan, Co-Director: Damon Davis) — A nonfiction account of the Ferguson uprising told by the people who lived it, this is an unflinching look at how the killing of 18-year-old Michael Brown inspired a community to fight back—and sparked a global movement.
World Cinema Dramatic Competition:
Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles.
Axolotl Overkill / Germany (Director and screenwriter: Helene Hegemann) — Mifti, age 16, lives in Berlin with a cast of characters including her half-siblings; their rich, self-involved father; and her junkie friend Ophelia. As she mourns her recently deceased mother, she begins to develop an obsession with Alice, an enigmatic, and much older, white-collar criminal. Cast: Jasna Fritzi Bauer, Arly Jover, Mavie Hörbiger, Laura Tonke, Hans Löw, Bernhard Schütz.
Berlin Syndrome / Australia (Director: Cate Shortland, Screenwriter: Shaun Grant) — A passionate holiday romance takes an unexpected and sinister turn when an Australian photographer wakes one morning in a Berlin apartment and is unable to leave. Cast: Teresa Palmer, Max Riemelt.
Carpinteros (Woodpeckers) / Dominican Republic (Director and screenwriter: José María Cabral) — Julián finds love and a reason for living in the last place imaginable: the Dominican Republic’s Najayo Prison. His romance with fellow prisoner Yanelly must develop through sign language and without the knowledge of dozens of guards. Cast: Jean Jean, Judith Rodriguez Perez, Ramón Emilio Candelario.
Don't Swallow My Heart, Alligator Girl! / Brazil, Netherlands, France, Paraguay (Director and screenwriter: Felipe Bragança) — In this fable about love and memories, Joca is a 13-year-old Brazilian boy in love with an indigenous Paraguayan girl. To conquer her love, he must face the violent region's war-torn past and the secrets of his elder brother, Fernando, a motorcycle cowboy. Cast: Cauã Reymond, Eduardo Macedo, Adeli Gonzales, Zahy Guajajara, Claudia Assunção, Ney Matogrosso.
Family Life / Chile (Directors: Alicia Scherson, Cristián Jiménez, Screenwriter: Alejandro Zambra) — While house-sitting for a distant cousin, a lonely man fabricates the existence of a vindictive ex-wife withholding his daughter, in order to gain the sympathy of the single mother he has just met. Cast: Jorge Becker, Gabriela Arancibia, Blanca Lewin, Cristián Carvajal.
Free and Easy / Hong Kong (Director: Jun Geng, Screenwriters: Jun Geng, Yuhua Feng, Bing Liu) — When a traveling soap salesman arrives in a desolate Chinese town, a crime occurs, and sets the strange residents against each other with tragicomic results. Cast: Gang Xu, Zhiyong Zhang, Baohe Xue, Benshan Gu, Xun Zhang.
God's Own Country / United Kingdom (Director and screenwriter: Francis Lee) — Springtime in Yorkshire: isolated young sheep farmer Johnny Saxby numbs his daily frustrations with binge drinking and casual sex, until the arrival of a Romanian migrant worker, employed for the lambing season, ignites an intense relationship that sets Johnny on a new path. Cast: Josh O'Connor, Alec Secareanu, Ian Hart, Gemma Jones.
My Happy Family / Georgia (Directors: Nana & Simon, Screenwriter: Nana Ekvtimishvili) — Tbilisi, Georgia, 2016: In a patriarchal society, an ordinary Georgian family lives with three generations under one roof. All are shocked when 52-year-old Manana decides to move out from her parents' home and live alone. Without her family and her husband, a journey into the unknown begins. Cast: Ia Shugliashvili, Merab Ninidze, Berta Khapava, Tsisia Qumsishvili, Giorgi Tabidze, Dimitri Oragvelidze.
The Nile Hilton Incident / Sweden (Director and screenwriter: Tarik Saleh) — In Cairo, weeks before the 2011 revolution, Police Detective Noredin is working in the infamous Kasr el-Nil Police Station when he is handed the case of a murdered singer. He soon realizes that the investigation concerns the power elite, close to the President’s inner circle. Cast: Fares Fares, Mari Malek, Mohamed Yousry, Yasser Ali Maher, Ahmed Selim, Hania Amar.
Pop Aye / Singapore, Thailand (Director and screenwriter: Kirsten Tan) — On a chance encounter, a disenchanted architect bumps into his long-lost elephant on the streets of Bangkok. Excited, he takes his elephant on a journey across Thailand in search of the farm where they grew up together. Cast: Thaneth Warakulnukroh, Penpak Sirikul, Bong.
Sueño en otro idioma (I Dream in Another Language) / Mexico (Director: Ernesto Contreras, Screenwriter: Carlos Contreras) — The last two speakers of a millennia-old language haven’t spoken in 50 years, when a young linguist tries to bring them together. Yet hidden in the past, in the heart of the jungle, lies a secret concerning the fate of the Zikril language. Cast: Fernando Álvarez Rebeil, Eligio Meléndez, Manuel Poncelis, Fátima Molina, Juan Pablo de Santiago, Hoze Meléndez.
The Wound / South Africa (Director: John Trengove, Screenwriters: John Trengove, Thando Mgqolozana, Malusi Bengu) — Xolani, a lonely factory worker, travels to the rural mountains with the men of his community to initiate a group of teenage boys into manhood. When a defiant initiate from the city discovers his best-kept secret, a forbidden love, Xolani's entire existence begins to unravel. Cast: Nakhane Touré, Bongile Mantsai, Niza Jay Ncoyini.
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.)
The Good Postman / Finland, Bulgaria (Director: Tonislav Hristov) — In a small Bulgarian village troubled by the ongoing refugee crisis, a local postman runs for mayor—and learns that even minor deeds can outweigh good intentions.
In Loco Parentis / Ireland, Spain (Directors: Neasa Ní Chianáin, David Rane) — John and Amanda teach Latin, English and guitar at a fantastical, stately home-turned-school. Nearly 50-year careers are drawing to a close for the pair who have become legends with the mantra: "Reading! ’Rithmetic! Rock ’n’ roll!" But for pupil and teacher alike, leaving is the hardest lesson.
It's Not Yet Dark / Ireland (Director: Frankie Fenton) — This is the incredible story of Simon Fitzmaurice, a young filmmaker who becomes completely paralyzed from motor neurone disease but goes on to direct an award-winning feature film through the use of his eyes.
Joshua: Teenager vs. Superpower / U.S.A. (Director: Joe Piscatella) — When the Chinese Communist Party backtracks on its promise of autonomy to Hong Kong, teenager Joshua Wong decides to save his city. Rallying thousands of kids to skip school and occupy the streets, Joshua becomes an unlikely leader in Hong Kong and one of China’s most notorious dissidents.
Last Men in Aleppo / Denmark (Directors: Feras Fayyad, Steen Johannessen) — After five years of war in Syria, Aleppo’s remaining residents prepare themselves for a siege. Khalid, Subhi and Mahmoud, founding members of The White Helmets, have remained in the city to help their fellow citizens—and experience daily life, death, struggle and triumph in a city under fire.
Machines / India, Germany, Finland (Director: Rahul Jain) — This intimate, observant portrayal of the rhythm of life and work in a gigantic textile factory in Gujarat, India, moves through the corridors and bowels of the enormously disorienting structure—taking the viewer on a journey of dehumanizing physical labor and intense hardship.
Motherland / U.S.A., Philippines (Director: Ramona Diaz) — The planet's busiest maternity hospital is located in one of its poorest and most populous countries: the Philippines. There, poor women face devastating consequences as their country struggles with reproductive health policy and the politics of conservative Catholic ideologies.
Plastic China / China (Director: Jiu-liang Wang) — Yi-Jie, an 11-year-old girl, works alongside her parents in a recycling facility while dreaming of attending school. Kun, the facility’s ambitious foreman, dreams of a better life. Through the eyes and hands of those who handle its refuse, comes an examination of global consumption and culture.
Rumble: The Indians Who Rocked The World / Canada (Director: Catherine Bainbridge) — This powerful documentary about the role of Native Americans in contemporary music history—featuring some of the greatest music stars of our time—exposes a critical missing chapter, revealing how indigenous musicians helped shape the soundtracks of our lives and, through their contributions, influenced popular culture.
Tokyo Idols / United Kingdom, Canada (Director: Kyoko Miyake) — This exploration of Japan’s fascination with girl bands and their music follows an aspiring pop singer and her fans, delving into the cultural obsession with young female sexuality and the growing disconnect between men and women in hypermodern societies.
Winnie / France (Director: Pascale Lamche) — While her husband served a life sentence, paradoxically kept safe and morally uncontaminated, Winnie Mandela rode the raw violence of apartheid, fighting on the front line and underground. This is the untold story of the mysterious forces that combined to take her down, labeling him a saint, her, a sinner.
The Workers Cup / United Kingdom (Director: Adam Sobel) — Inside Qatar’s labor camps, African and Asian migrant workers building the facilities of the 2022 World Cup compete in a football tournament of their own.
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.
Columbus (Director & Screenwriter: Kogonada) — Casey lives with her mother in a little-known Midwestern town haunted by the promise of modernism. Jin, a visitor from the other side of the world, attends to his dying father. Burdened by the future, they find respite in one another and the architecture that surrounds them. Cast: John Cho, Haley Lu Richardson, Parker Posey, Rory Culkin, Michelle Forbes.
Dayveon (Director: Amman Abbasi, Screenwriters: Amman Abbasi, Steven Reneau) — In the wake of his older brother’s death, 13-year-old Dayveon spends the sweltering summer days roaming his rural Arkansas town. When he falls in with a local gang, he becomes drawn to the camaraderie and violence of their world. Cast: Devin Blackmon, Kordell "KD" Johnson, Dontrell Bright, Chasity Moore, Lachion Buckingham, Marquell Manning.
Deidra & Laney Rob a Train (Director: Sydney Freeland, Screenwriter: Shelby Farrell) — Two teenage sisters start robbing trains to make ends meet after their single mother's emotional meltdown in an electronics store lands her in jail. Cast: Ashleigh Murray, Rachel Crow, Tim Blake Nelson, David Sullivan, Danielle Nicolet, Sasheer Zamata.
A Ghost Story (Director & Screenwriter: David Lowery) — This is the story of a ghost and the house he haunts. Cast: Casey Affleck, Rooney Mara, Will Oldham, Sonia Acevedo, Rob Zabrecky, Liz Franke.
Gook (Director & Screenwriter: Justin Chon) — Eli and Daniel, two Korean American brothers who own a struggling women's shoe store, have an unlikely friendship with 11-year-old Kamilla. On the first day of the 1992 L.A. riots, the trio must defend their store—and contemplate the meaning of family, their personal dreams and the future. Cast: Justin Chon, Simone Baker, David So, Curtiss Cook Jr., Sang Chon, Ben Munoz.
L.A. Times (Director & Screenwriter: Michelle Morgan) — In this classically styled comedy of manners set in Los Angeles, sophisticated thirtysomethings try to determine whether ideal happiness exists in coupledom or if the perfectly suited couple is actually just an urban myth. Cast: Michelle Morgan, Dree Hemingway, Jorma Taccone, Kentucker Audley, Margarita Levieva, Adam Shapiro.
Lemon (Director: Janicza Bravo, Screenwriters: Janicza Bravo, Brett Gelman) — A man watches his life unravel after he is left by his blind girlfriend. Cast: Brett Gelman, Judy Greer, Michael Cera, Nia Long, Shiri Appleby, Fred Melamed.
Menashe (Director: Joshua Z Weinstein, Screenwriters: Joshua Z Weinstein, Alex Lipschultz, Musa Syeed) — Within Brooklyn’s ultra-orthodox Jewish community, a widower battles for custody of his son. A tender drama performed entirely in Yiddish, the film intimately explores the nature of faith and the price of parenthood. Cast: Menashe Lustig.
Person to Person (Director & Screenwriter: Dustin Guy Defa) — A record collector hustles for a big score while his heartbroken roommate tries to erase a terrible mistake, a teenager bears witness to her best friend’s new relationship and a rookie reporter, alongside her demanding supervisor, chases the clues of a murder case involving a life-weary clock shop owner. Cast: Abbi Jacobson, Michael Cera, Tavi Gevinson, Philip Baker Hall, Bene Coopersmith, George Sample III.
Thoroughbred (Director & Screenwriter: Cory Finley) — Two teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. In the process, they learn that neither is what she seems to be—and that a murder might solve both of their problems. Cast: Olivia Cooke, Anya Taylor-Joy, Anton Yelchin, Paul Sparks, Francie Swift, Kaili Vernoff.
Robert Redford, President & Founder of Sundance Institute, said, "From the passion and chaos of creativity, independent filmmakers make decisions to harness that energy, break new ground and tell their stories. This year’s Festival reflects every step of that journey, and shows how art can engage, provoke and connect people all over the world." John Cooper, Director of the Sundance Film Festival: "The films in this year’s Festival show the human sides of issues, people and places we don’t often see. Independent filmmakers, with their fearless, bold perspectives, are challenging us to witness our world's whole story. These artists, armed with their films, will lead us into the future." So many exciting films to see coming up this January.
Sundance is always one of my favorite festivals, I'm always excited to get a glimpse at the line-up. This year should be exciting as usual. Sundance 2017 runs from January 19th to 29th, 2017. Visit Sundance.org.
Must Watch: Teaser Trailer for J.D. Dillard's Magician Indie Film 'Sleight'
"We can do whatever we want if we just believe we're able to." Blumhouse Tilt has released a brief teaser trailer for a film titled Sleight, which premiered in the ultra-low budget NEXT section of the Sundance Film Festival in January. Sleight is about a street magician in Los Angeles who gives himself superpowers and takes on a local drug dealer to save his sister. Jacob Latimore plays Bo, also featuring Seychelle Gabriel, Dulé Hill, Storm Reid, Sasheer Zamata, Michael Villar, Brandon Johnson & Cameron Esposito. The film received quite a bit of positive praise at Sundance. I wrote in my review that "it's a fairly simple story, but the film is still awesome." It's an impressive little homemade indie that's worth catching.
Here's the first teaser trailer (+ Sundance poster) for J.D. Dillard's Sleight, direct from YouTube:
A young street magician is left to take care of his little sister after his mother's passing and turns to drug dealing in the Los Angeles party scene to keep a roof over their heads. When he gets into trouble with his supplier, his sister is kidnapped and he is forced to rely on both his sleight of hand and brilliant mind to save her. Sleight is both written and directed by young filmmaker J.D. Dillard, making his feature directorial debut after working in the kitchen at J.J. Abrams' Bad Robot. The screenplay is by Alex Theurer and J.D. Dillard. This first premiered at the Sundance Film Festival in early 2016. BH Tilt will be releasing Sleight in select theaters starting J.D. Dillard's April 7th, 2017 next spring. Highly recommend seeing this.
Today, we’re celebrating the seventy-third birthday of one of American cinema’s most lyrical and enigmatic storytellers. Over the course of more than four decades, Terrence Malick has established a distinctive aesthetic that juxtaposes the . . .
Spies face the music: Jeff Smith on FOREIGN CORRESPONDENT
DB here: Here’s another guest contribution from colleague, Film Art collaborator, and pal Jeff Smith. He inaugurates a series of entries tied to our monthly Observations on Film Art videos on FilmStruck.
About a month ago, a new streaming service for film lovers debuted. Its name is FilmStruck and it’s a joint venture of Turner Classic Movies and the Criterion Collection.
As regular readers of the blog already know, David, Kristin, and I have launched a series for FilmStruck. Every month, we’ll be featured in short videos that offer appreciations of particular films and filmmakers. In baseball lingo, I got the leadoff spot. As the first up, I offered an overview of the principal musical motifs in Alfred Hitchcock’s Foreign Correspondent. Below is a supplement to the video that goes into a little more depth regarding the way Alfred Newman’s score for Foreign Correspondent fits into the film’s larger narrative strategies.
Fair warning: there are some spoilers in what follows. Some of you who are FilmStruck subscribers or owners of the Criterion disc may want to watch this Hitchcock classic before proceeding.
Founding a Hollywood dynasty
Alfred Newman.
If you were looking for someone whose work epitomized the qualities of the classical Hollywood score, Alfred Newman would be a pretty good candidate for the job.
Newman’s career in Hollywood began when Tin Pan Alley stalwart, Irving Berlin, recommended him for the 1930 musical, Reaching for the Moon. Having worked for years as a music director on Broadway, Newman planned to stay for only three months. But the lure of the Silver Screen was too strong. Newman spent the next forty years working in Hollywood.
In 1931, Newman became the musical director at United Artists, working mostly for producer Samuel Goldwyn. He also established himself as one of the industry’s leading composers, contributing to nearly ninety films over the course of the 1930s and earning nine Oscar nominations in the process. Newman’s most memorable early scores included such titles as The Prisoner of Zenda, The Hurricane, The Hunchback of Notre Dame, and Wuthering Heights. Eventually, he would leave Goldwyn to take over the music department at 20th Century-Fox, a position he held for more than twenty years.
Alfred, however, would be just one of several Newmans who would make the name synonymous with the Hollywood sound. Alfred would establish a film composing dynasty that would come to include his brothers Lionel and Emil; his sons, Thomas and David; and his nephew, Randy.
Overture, hit the lights….
If you asked most film music aficionados for their favorite Alfred Newman scores, I suspect Foreign Correspondent would be pretty low on the list. Most fans of the composer’s work would likely opt for one of the later Fox classics he scored, such as How Green Was My Valley (1941), A Tree Grows in Brooklyn (1945), The Captain from Castile (1947), or The Robe (1953). Yet, if you want to get a handle on the basic features of the classical paradigm, Foreign Correspondent’s typicality makes it more useful as an exemplar. Newman’s music neatly illustrates several of the traits commonly associated with the classical Hollywood score’s dramatic functions.
One of these characteristic traits is Newman’s use of leitmotif as an organizational principle. Foreign Correspondent’s score is organized around five in all. The first is a theme for the film’s protagonist, Johnny Jones. The second is a theme for Carol, Johnny’s love interest in the film. As is typical of studio-era scores, both themes are introduced in the film’s Main Title.
Like an overture, the Main Title previews the two most important musical themes in the film. The A theme is upbeat, sprightly, and lightly comic. It captures some of Johnny’s ebullience and masculine charm, and it helps establish the tone of the early scenes, which draw upon the conventions of the newspaper film. The B theme is slower and more lyrical. It features the kind of lush orchestrations for strings that became a hallmark of Newman’s style.
Each theme roughly correlates with the dual plot structure common to classical Hollywood narratives. The A theme previews the main plotline focused on Johnny’s efforts as an investigative reporter. The B theme previews the story’s secondary plotline: the budding romance between Johnny and Carol.
Both themes recur throughout the remainder of the movie. In fact, Johnny’s theme returns even before the opening credits have ended, appearing underneath a title card valorizing the power of the press. In contrast to the lively, spunky version heard earlier, Newman gives it a maestoso treatment, slowing the tempo and orchestrating it for brass. In this instance, Newman’s arrangement of Johnny’s theme is attuned less to the brashness of his character and more to the social role that newspaper reporters play as a source of information to the world.
Up until this point, the music simply primes us for what is to come. Johnny’s theme returns about two minutes later when he is first introduced.
The reprise of his theme makes explicit the Main Title’s tacit association between music and character. Here, though, it plays in a jazz arrangement as a slow foxtrot. Newman’s arrangement nicely captures the tone of these early scenes, which display the lightness and pacing of other newspaper comedies.
It returns 22 more times in the film. In all, Johnny’s theme accounts for more than a quarter of the film’s 94 music cues. Usually, the theme functions to underline Johnny’s heroism and resourcefulness as in the scene where he gives chase to Van Meer’s assassin. At one point, Johnny even whistles his theme. This occurs in the scene where he eludes a pair of suspicious men posing as police by pretending to draw a bath and crawling out the window.
In contrast, Carol’s theme is used less frequently, appearing in about thirteen cues in all. After its introduction in the main title, it returns when Johnny and Carol first meet at the luncheon sponsored by the Universal Peace Party. Johnny unknowingly insults Carol, first by mistaking her for a publicist, and then by expressing skepticism about the organization’s mission, griping about well-meaning amateurs interfering in international affairs. Newman’s theme hints at Carol’s attraction to Johnny despite his obvious boorishness. The music says what the characters can’t or won’t say. As Johnny and Carol trade insults, Carol’s theme captures the romantic spark that lurks beneath their badinage.
The theme’s other uses often work along similar lines, providing an emotional resonance to the couple’s expression of feelings for one another. A good example is found in the scene where Carol and Johnny huddle together on the deck of a steamship. Here, as a pair of refugees, each member of the couple declare their love for one another and their desire to marry.
Music for the hope of the world
In addition to these two principal themes, the score also utilizes three other themes and motifs to represent important secondary characters. A theme for Professor Van Meer is introduced when Johnny spots him getting into a taxicab.
It returns nine more times in the film in scenes that feature the character or make reference to him.
The theme itself is simple, slow, stately, and quite frankly, a little bit boring. Indeed, if it wasn’t for the multiple references to a “Van Meer Theme” on the cue sheet for Foreign Correspondent, the music would simply blend into the other material that surrounds it.
The orchestration of the theme for solo wind instruments, usually an oboe, gives it a kind of pastoral feeling. The image of peaceful shepherds is likely an appropriate one for Van Meer, who functions as a stand-in for a global desire to avoid armed conflict. Yet, both the character and Newman’s musical theme for him seem nondescript, making Van Meer seem like little more than the walking embodiment of an abstract ideal of world harmony.
Truth be told, Van Meer mostly operates in Foreign Correspondent as the classic Hitchcock MacGuffin–that is, the thing the characters all want, but with which the audience need not concern itself. When Van Meer appears to be assassinated, it sets in motion a chain of events that uncovers a conspiracy organized through Steven Fisher’s World Peace Party. Van Meer is the object that all the characters want to find, and the search for him drives the narrative forward. Yet the character himself has about as much personality as the microfilm in North by Northwest. Newman’s nondescript melody seems to fit the “blank slate” quality of Van Meer himself.
Like the classic MacGuffin, Van Meer’s function as something of an empty vessel allows his theme to be used several times late in the film in scenes where the character isn’t physically present. Although the norm is to use characters’ themes or leitmotifs when they are onscreen, Newman’s treatment of Van Meer shows they can evoke absent characters. This occurs, for example, in a scene where Scott ffolliot explains to Stephen Fisher that he’s arranged for the kidnapping of Carol. Fisher asks ffolliot why he would do such a thing, and ffolliot replies that he wants to know where Stephen has stashed Van Meer.
As we’ll see, Fisher has a theme of his own that itself appears several times in this same scene. But the use of Van Meer’s theme in this context becomes a way of signifying both the character and the peaceful values that he represents – that is, values that Fisher seeks to destroy.
And though Van Meer’s music is a bit dull, the theme proves a bit more interesting when one considers the way it works within Hitchcock’s larger strategies of narration. At a key point, Hitchcock and Newman use the Van Meer theme to mislead the audience about what has just transpired onscreen. I’m referring here to the moment when Van Meer appears on the steps just as the Peace conference in Amsterdam is about to commence.
The theme is cued by Johnny’s glance offscreen after briefly chatting with Fisher, his publicist, and a diplomat. Hitchcock cuts to a shot from Johnny’s optical POV that shows Van Meer climbing up the staircase. We return to Johnny, who smiles and walks out of the frame. Johnny and Van Meer meet in a two-shot where the former offers a warm greeting. A cut to Van Meer’s reaction, though, reveals a blank stare, even as Johnny tries to remind the elderly professor of their previous encounter in the taxi.
The moment is an important one, but before the viewer can even grasp its significance, the two men are interrupted by a request for a photograph. Hitchcock then tracks in on the newsman, who surreptitiously sneaks a gun next to the camera he is holding. He pulls the trigger, and Hitchcock cuts to a brief insert of Van Meer, who has been shot in the face.
As I noted earlier, the assassination we witness is a key turning point in the story, and Hitchcock handles the scene with considerable finesse. Almost unnoticed, though, is the fact that Hitchcock and Newman cleverly use Van Meer’s musical theme as a form of narrative deceit. At first blush, the musical theme helps to reinforce Van Meer’s identity, serving the kind of signposting function that some film music critics believed was a hackneyed device. As we later learn, though, the murder victim is not Van Meer, but rather a double killed in his place to foment international tensions. This information ultimately recasts the old man’s seeming failure to recognize Johnny. As Van Meer’s double, these two men have never actually met.
Has Hitchcock played fair in using Van Meer’s theme for a character that is not Van Meer but only looks like him? Perhaps, but the creation of this red herring is justified if one considers the fact that composers frequently write cues meant to reflect or convey a character’s point of view. Every composer must make a choice about whether to write a cue from the particular perspective of the character or the more global perspective of the film’s narration. Newman might have opted for conventional musical devices that connote suspense (ostinato figures, string tremolos, low sustained minor chords), and these would have signaled to the viewer that Van Meer is in peril, thereby creating a heightened anticipation of the violence that erupts in the scene. Instead, though, following the visual cues provided by Hitchcock’s cinematography and editing of the scene, Newman plays Johnny’s perspective and his recognition of Van Meer as he approaches the building’s entrance. By combining two common tactics–leitmotif and character perspective – Newman and Hitchcock briefly mislead the audience in order to create two surprises: the first when it appears that Van Meer is killed and the second when Van Meer is discovered inside the windmill and proves to be very much alive.
Menace (without the Dennis)
There is also a brief six-note motif used to signify the conspirators as a group. Labeled the “menace” motif, it is introduced just after Van Meer’s apparent assassination. In the chase that follows, Newman alternates between the “menace” motif and Johnny’s theme in order to sharpen the conflict and to capture the ebbs and flows of our hero’s dogged pursuit of the bad guys.
The motif returns, though, at just about any point where one of the group’s henchmen gets up to no good. In the scene inside the windmill, the menace motif appears several times to underscore the kidnappers’ nefarious scheme. Johnny sneaks inside the windmill, and after locating Van Meer, he tries to rescue him only to find out that the elderly professor has been drugged. As Johnny tries to figure out his next move, muted trumpets play the “menace” motif, signaling the kidnappers’ approach and thereby heightening the scene’s suspenseful tone.
Here again, Newman’s thematic organization reinforces a larger narrative tactic in Hitchcock’s film. Herbert Marshall serves as the typical suave villain commonly found in the Master’s oeuvre and Edmund Gwenn steals the show as Johnny’s would-be assassin, Rowley. But the rest of the conspirators are a largely undistinguished lot, and the use of a single motif for the group in toto reflects their relative impersonality. Unlike North by Northwest, where Martin Landau makes a vivid impression as Van Damm’s reptilian assistant Leonard, this spy ring seems to be filled out by thugs from Central Casting.
Father, leader, traitor, spy
Besides motifs for Johnny, Carol, Van Meer and the conspirators, there is also a short motif for Carol’s father, Stephen Fisher. It is harmonically and melodically ambiguous, structured around the rapid, downward movement of a chromatic figure.
In classical Hollywood practice, a leitmotif is usually introduced when the character first appears onscreen. But in an unusual gesture, Newman and Hitchcock resist this convention. The motif does not appear until more than eighty minutes into the film in the aforementioned scene just before ffolliot tries to blackmail Fisher into divulging Van Meer’s location.
By withholding Fisher’s motif, Hitchcock and Newman avoid tipping their hand too early. Since Fisher is later revealed to be the leader of the spy ring, the score circumspectly avoids comment on him in order to preserve the plot twist.
Several cues featuring Fisher’s motif return in the scene where Johnny, Carol, ffolliot, and the other survivors of the plane crash cling to wreckage waiting to be rescued. Carol spots the plane’s pilot stranded on its tail.
He swims over to the group and clambers about the wing. The pilot’s added weight threatens to upend the wing, thereby endangering everyone sitting atop it.
Recognizing this, the pilot asks the others to let him go so that he can simply “slip away.” Fisher overhears this exchange and decides to remove his life jacket and dive into the waters himself, leaving room on the plane’s wing for the rest of crash’s survivors.
The harmonic and melodic ambiguity of Fisher’s motif is most pronounced here, a moment where the character’s duality is also most clearly revealed. Is this a heroic act of self-sacrifice, an act of atonement for the damage Fisher has done to both his daughter’s reputation and his organization’s peaceful cause? Or has Fisher taken the coward’s way out, committing suicide in order to avoid facing the consequences of his actions?
Newman’s rather opaque musical motif doesn’t seem to take sides on this question, leaving Fisher’s motivation more or less uncertain. But this, too, is in keeping with the basic split between the character’s public and private personae. Introduced earlier as Carol’s father, Fisher appears to be cultured and debonair. Yet, when he seeks to extract information from a reluctant captive, Stephen resorts to the physical torments used by two-bit gangsters to make mugs talk. Like those gangsters in the 1930s, Fisher refuses to be taken alive and is swallowed up in briny sea. Still, his action does help to save other lives, and in this way, Fisher enables Carol to find a small measure of grace in the final memory she will have of him.
Putting earworms inside actual ears
As the principal composer of music for Foreign Correspondent, Newman had a major impact on the film’s ultimate success. Yet Newman was not responsible for the music that has engendered the most attention in critical work on the film. I’m referring here to two source cues written by Fox staff arranger, Gene Rose, that are featured in the scene where Van Meer is psychologically tortured. His captors use sleep deprivation techniques to elicit van Meer’s cooperation, including bright lights and the repeated playing of a jazz record. The two cues received rather cheeky descriptions on the cue sheet for Foreign Correspondent: “More Torture in C” and “Torture in A Flat.”
The use of jazz for these cues is likely a little bit of wicked humor on Hitchcock’s part. Despite its popularity as dance music in the 1930s, some listeners undoubtedly believed that jazz was little more than noise with a swinging rhythm. From a modern perspective, though, the scene eerily anticipates the “enhanced interrogation” techniques that would become notorious at Guantánamo and Abu Ghraib. As The Guardian reported in 2008, US military played Metallica’s “Enter Sandman” at ear-splitting volume for hours on end, both at Guantanamo and at a detention center located on the Iraqi-Syrian border. At the other end of the musical spectrum, one of the other pieces played repeatedly was “I Love You” sung by Barney the purple dinosaur. Presumably the first was selected because of its aggressiveness, the latter because of its insipidness. But the Barney song has the distinction of being characterized by military officials as “futility” music – that is, its use is designed to convince the prisoner of the futility of their resistance.
Although, in 1940, Hitchcock could not have envisioned the use of heavy metal and kidvid music as elements of enhanced interrogation, the scene from Foreign Correspondent is eerily prescient. Viewed today, the scene also carries with it a strong element of political critique insofar as it associates such psychological torture techniques with a bunch of “fifth columnists” who are willing to commit murder and even engineer a plane crash in order to achieve their political ends. Touches like these make Foreign Correspondent seem timely today, more than seventy-five years after its initial release.
Alfred Newman the Elder
After Foreign Correspondent, Alfred Newman would go on to score more than a hundred and thirty feature films, and earn several dozen more Academy Award nominations. His nine Oscar wins remain an achievement unmatched by any other film composer. Newman died in Hollywood in 1970 at the age of 69, just before the release of his last picture, the seminal disaster movie, Airport. His work on Airport received an Oscar nomination for Best Original Score, the 43rd such nomination of his long and distinguished career.
For some film music scholars, Newman’s death marked the end of an era, as his career was more or less contemporaneous with the history of recorded synchronized sound cinema in Hollywood. As fellow composer Fred Steiner wrote in his pioneering dissertation on the development of Newman’s style:
As things are, we can be grateful for the dozen or so acknowledged monuments of this twentieth-century form of musical art— absolute models of their kind— that Newman did bestow on the world of cinema. Fashions in movies and in movie music may come and go, but scores such as The Prisoner of Zenda, Wuthering Heights, The Song of Bernadette, Captain From Castile, and The Robe are musical treasures for all time, and as long as people continue to be drawn to the magic of the silver screen, Alfred Newman*s music will continue to move their emotions, just as he always wished.
Because of its typicality, Foreign Correspondent may well seem like a speed bump on Newman’s road to Hollywood immortality. Yet it remains a useful introduction to the composer himself, who along with Max Steiner and Erich Wolfgang Korngold, is part of a triumvirate that would come to define the sound of American film music.
For more on music in Alfred Hitchcock’s films, see Jack Sullivan’s encyclopedic Hitchcock’s Music. For more on the production of Foreign Correspondent, see Matthew Bernstein’s Walter Wanger: Hollywood Independent. Readers interested in learning about Alfred Newman’s career should consult Fred Steiner’s 1981 doctoral dissertation, “The Making of an American Film Composer: A Study of Alfred Newman’s Music in the First Decade of the Sound Era,” and Christopher Palmer’s The Composer in Hollywood.
Tony Thomas’s Film Score: The Art & Craft of Movie Music includes Newman’s own account of his work for the Broadway stage before coming to Hollywood. Readers interested in an overview of the classical Hollywood score’s development should consult James Wierzbicki’s excellent Film Music: A History.
Alfred Newman conducts his most famous film theme, Street Scene, in the prologue to How to Marry a Millionaire (1953).
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