“As a writer, you’re always an observer,” says Sian Heder, an Orange Is The New Black scribe who’s the director/writer of the new film Tallulah. Centering on an impulsive yet often well meaning young woman (Ellen Page is Tallulah) who steals a baby from a neglectful mother (Tammy Blanchard) at a New York Hotel, the feature is an uncompromising tale that blends melodrama, dark humor, pathos, and a sliver of fantasy into the mix. Allison Janney co-stars as Margo, the mother of Tallulah’s boyfriend (Evan Jonigkeit).
Getting an established composer to score a short film is downright impossible and, if your short is low budget, not financially feasible. Thankfully, Danny Elfman (Batman, Edward Scissorhands,Alice Through the Looking Glass) is going another direction!
Some would call it ingenuity and others may deem it as necessity, but I’m assuming Michael David Lynch has taken from both worlds as a director/producer/editor. Diversity is a plus with indie filmmaking, and Lynch showcases his versatility with his documentary Victor Walk and the romantic comedy Dependent’s Day. Both features are spotlighted on the Dances With Films Festival.
Pamela Romanowsky makes her feature directing debut with the ambitious and evocative The Adderall Diaries, a project that’s based on Stephen Elliott’s bestselling memory. On the surface, the story centers on Stephen’s fixation with a high-profile murder case (Christian Slater plays the suspect) and the deepening rift between he and his father (the always effective Ed Harris). Amber Heard co-stars as a New York Times journalist who enters a relationship with Stephen,
A Country Called Homemarks the promising feature filmmaking debut of Anna Axster, a director who infuses her story with a wonderfully understated tone. The picture centers Ellie (the always engaged Imogen Poots), a young woman who travels to a small town in Texas to bury her estranged father. Understandably shattered and conflicted as she comes to terms with her father’s passing, Ellie finds comfort and friendship with an entirely new family (Mackenzie Davis is a wannabe country singer with moxie, musician Ryan Bingham as a hard working single father, and Mary McCormack as the father’s former companion).
Now playing in select theaters, Hitchcock/Truffaut centers on the making of one of the most popular books on cinema. Along with culling audio from the actual conversations between filmmakers Alfred Hitchcock and Francois Truffaut, director Kent Jones talks to directors Martin Scorsese, David Fincher, Wes Anderson, and Richard Linklater (among others) about Hitchcock’s (and the book’s) influence on their careers.
Billy Ray is that rare combination of a successful screenwriter (The Hunger Games, Captain Phillips) who’s also a first rate director (Shattered Glass, Breach). His latest movie is “Secret In Their Eyes,” a topnotch thriller starring Julia Roberts and Chiwetel Ejiofor, is a remake of the Oscar winning Argentinean feature “El Secreto De Sus Ojos.” Thankfully, Ray’s version isn’t a step by step regurgitation of the film, as it manages to carve its own singular narrative.
Me and Earl and the Dying Girl may, upon first blush, seem like a manipulative, tear-jerker about the friendship between an anti-social high school senior named Greg (Thomas Mann) and Rachel (Olivia Cooke), a fellow classmate who’s been diagnosed with cancer.
Thankfully director Alfonso Gomez-Rejon, writer Jesse Andrews(adapting from his own book), and an inspired ensemble and crew brought something entirely different to the equation.
Whether you’re a fan of filmmaker David Gordon Green’svisually sprawling, voiceover driven explorations of humanity (George Washington,All The Real Girls) or simply love his flair for comedy (Pineapple Express, The Sitter, Your Highness), it’s safe to say Green doesn’t mind changing things up. With Manglehorn, Green may have shot near his own residence but he still traverses a new path thanks to his collaboration with Al Pacino.