Theo James, Meghann Fahy and Will Sharpe have been tapped as series regulars for the second installment of Mike White’s dark comedy HBO series The White Lotus. Additionally, and up-and-comer Leo Woodall is set to recur.
30.01.2022 - 02:29 / theplaylist.net
The crushing weight of debt and the stress of financial struggle have led many to find creative problem-solving methods. The Sundance crime drama “Emily The Criminal” explores one such story about a character pressed to the limits by a system intent on keeping her in the loop of student debt and marginalized job opportunities.
Premiering at Sundance 2022, this entry from filmmaker John Patton Ford offers an intense — but all too authentic — portrait of a dire economic landscape that creates desperation and bad choices. Continue reading ‘Emily The Criminal’: Aubrey Plaza, Theo Rossi & Director John Patton Ford Discuss Their Sundance Grift Thriller [Interview] at The Playlist.
.Theo James, Meghann Fahy and Will Sharpe have been tapped as series regulars for the second installment of Mike White’s dark comedy HBO series The White Lotus. Additionally, and up-and-comer Leo Woodall is set to recur.
Brent Lang Executive Editor of Film and MediaRoadside Attractions has acquired U.S. distribution rights to “Call Jane,” a historical drama about a group of women working to provide access to safe abortions.The film debuted at this year’s Sundance Film Festival, premiering at a time when the Supreme Court is debating Roe v.
What do you have to say to the Russian people in the event of your death? Filmmaker Daniel Roher (“Once Were Brothers: Robbie Robertson and the Band,”) asks his subject, political Russian dissident, Alexei Navalny, at the beginning of his engrossing new doc “Navalny.” “C’mon,” Navalny scoffs, dismissively, as if highly attuned to Roher’s “gotcha” question he could frame posthumously in the case of the political agitator’s untimely death.
“My Old School,” a documentary by Jono McLeod, opens with an enticing montage. Interviewees speak ominously about a mysterious character who’s done something strange — a man who may even be unhinged enough to have changed his identity through facial reconstruction.
Filmmaker Jamie Dack is no stranger to film festivals. Her short film about teenage malaise in suburban Southern California “Palm Trees and Power Lines” premiered at the 2018 Cannes Film Festival as a Cinéfondatio selection.
Premiering in the U.S. Dramatic Competition at this year’s all-virtual Sundance Film Festival, Nikyatu Jusu’s unsettling “Nanny” is a supernatural thriller that weaves together strands of domestic drama and West African folklore.
“We grew up in Atlanta and in the church. Like in the height of Southern Baptist megachurches.
poisoned Russian dissident Alexei Navalny premiered at the Sundance Film Festival on Tuesday. Called “Navalny,” it’s a no-holds-barred indictment of Russian President Vladimir Putin and the Kremlin, and insists that Navalny’s close brush with death was the result of a secret state-run operation to assassinate him.“As I became more and more famous guy, I was totally sure that my life became safer and safer because I am kind of famous guy — and it will be problematic for them just to kill me,” Navalny, 45, says in the film. “I was very wrong.” The doc, heading to HBO Max, was added at the last minute to the Sundance slate just as Putin had stationed more than 100,000 troops along the Ukrainian border.
Every so often, the movies like to argue with themselves by dropping two versions of the same story within spitting distance of one another: “Dante’s Peak” and “Volcano,” “Deep Impact,” and “Armageddon.” The one-two punch of Sean Baker’s “Red Rocket” and Jamie Dack’s “Palm Trees and Power Lines” is, for clarity’s sake, nothing like dueling dumb-dumb disaster spectacles, but to consider Dack’s film without considering Baker’s is both impossible – everyone at Sundance is doing it– and frankly careless (but mostly impossible).
At first glance, actor-writer-director Cooper Raiff’s “Cha Cha Real Smooth” might look like your typical cutesy and whimsical Sundance dramedy, about a twenty-something college graduate learning a valuable life lesson and experiencing a bit of a delayed coming of age. While that’s not an inaccurate description of Raiff’s disarmingly lovely film (programmed in this year’s US Dramatic Competition), what feels miraculous about “Cha Cha” is: it doesn’t come with even an ounce of that cringe-inducing Sundance fancifulness, a brand that many love to hate.
EXCLUSIVE: Beanie Mania filmmaker Yemisi Brookes, documentarian-cinematographer Christopher Frierson (DMX: Don’t Try to Understand), director-producer Lisa Cortés (All In: The Fight For Democracy), directors Morgan Pheme and Dan DiMauro (Get Me Roger Stone), Mark Laita’s YouTube channel Soft White Underbelly and The Speed Cubers filmmaker Sue Kim have signed with Black Box Management for representation.
In the early moments of Carey Williams’ “Emergency,” you might think that you’re in a one crazy night movie you’ve seen before. You know the kind: a long night of partying and various drunken confrontations between friends, concluded with a serene moral and emotional parting where everywhere grows up a little.
Things have not been going well for Emily. Some of it is just terrible luck.
Bookended by a near-identical juxtaposition of sound and fury, directors Dylan Southern and Will Lovelace’s “Meet Me in the Bathroom” starts and ends like a messy, wannabe Jules Dassin cityscape film seen through a grunge filter. “Manhattan crowds with their turbulent musical chorus, Manhattan faces, and eyes, forever for me,” our narrator reads as we see riotous anger take to the streets.
His name was Brandon and to almost everyone at Glasgow’s Bearsden Academy, he seemed a bit odd. This new pupil was much taller than the other students, said he was from Canada and, well, his face looked…strange.
The family at the center of Finnish director Hanna Bergholm’s unnerving, instantly memorable horror flick “Hatching,” on first blush, are their own kind of perfect. This quartet of influencers, who sell their idyllic homelife to their legion of followers, are led by a ruthlessly ambitious mother (Sophia Heikkilä), while her husband (Jani Volanen), an amiable oaf, chooses to ignore her worst tendencies.
There is, at the moment, no shortage of information in the culture about Lucille Ball and Desi Arnaz. In just the past few months, the performers behind “I Love Lucy” have been the subjects of both a (very good) season of TCM’s “The Plot Thickens” podcast and a (very bad) Aaron Sorkin movie, “Being the Ricardos.” Now you can add to that mix “Lucy and Desi,” a new feature-length bio-documentary from actor/director Amy Poehler, which is hitting Amazon Prime in March, presumably as something of a companion piece to “Ricardos” (which the streamer/studio also financed).