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Ratings 6,1 / 10 Star directed by Lone Scherfig Duration 1 Hour 52m countries USA, Canada Genre Drama. New york winter palace download torrent games.

 

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New york winter palace download torrent downloads. New York Winter Palace Download torrentfreak. Top 150 Most Anticipated Foreign Films of 2020: 120. The Day We Died – Ole Christian Madsen 31 December 2019 The Day We Died Denmarks Ole Christian Madsen has elected to commemorate the 2015 terrorist attacks on Copenhagen with his latest film, The Day We Died (previously known as The Attack on Copenhagen and also Notat. Following in the footsteps of increasingly popular reenactments of terrorist attacks, this ends a six-year hiatus for Madsen. Produced by Malene Blenkov and lensed by John Christian Rosenlund, Madsen gets a high-profile cast led by Nikolaj Coster-Waldau, supported by Jakob Oftbro, Sonja Richter and Nikolaj Kopernikus. … See full article at » Whistler Film Festival 2019: ‘The Kindness of Strangers Reviewed by Peter Belsito 25 December 2019 by Sydney Levine SydneysBuzz Clara ( Zoe Kazan) arrives in New York with her two small children, on the run from an abusive partner- and thats putting it mildly. He is a homicidal violent psychopath — and a NYC police officer. Her terror of him and fear for her boys — whom he abused violently — motivates her. This Danish/Canadian co-production opened this years Berlin Film Festival, t The story is very modern, a plotline Id never seen before. In short, The Kindness of Strangers is about a young woman wandering in New York City with no money, nowhere to go, nobody to help her with two small boys in tow. Her resultant, continuing interactions with a whole cast of strangers forms the storyline. Her desperate, determined continuous search for her boys safety, and her own, motivates her to keep running with no resources in a tough dark New York City. Clara (Zoe Kazan See full article at SydneysBuzz » Creative Alliance, REinvent, Viaplay partner on Scandinavian TV drama '5 From Hell' exclusive) 28 May 2019 by Wendy Mitchell ScreenDaily Ole Christian Madsen s ambitious 10-part series is loosely inspired by real gangsters in Sweden. Rikke Ennis Copenhagen-based REinvent Studios has come on board as a co-producer and international sales company for Ole Christian Madsens ambitious 10-part TV series 5 From Hell. Malene Blenkov of Creative Alliance is producing the series, which is being financed now for a 2020 shoot and 2021 broadcast. Viaplay is the shows major backer and other partners are being lined up now. The story is loosely inspired by real gangsters in Sweden but Ennis notes “there is also a lot of fiction to it. ” The first See full article at ScreenDaily » Berlin: Lone Scherfig Seeks to Foster Community With ‘The Kindness of Strangers 07 February 2019 by Christopher Vourlias Variety With “ The Kindness of Strangers, ” which opens the Berlin Film Festival on Thursday evening, Danish writer-director Lone Scherfig said she felt an urgent need to respond to the current political and social turmoil around the globe in a positive way. “I thought it would make sense…to make a film that had light and hopefully leaves the audience with a sense of not just hope, but also community, ” she said. Scherfig spoke at a press conference Thursday afternoon alongside producer Malene Blenkov and members of the cast, including Zoe Kazan, Andrea Riseborough, and Bill Nighy. The Berlinale veteran, who won the Silver Bear in 2001 for “Italian for Beginners, ” discussed how “ The Kindness of Strangers ” allowed her to address the darkening political climate without being an overtly political film. The movie revolves around a cast of down-and-out characters whose paths cross at a restaurant owned by the grandson of Russian immigrants See full article at Variety » Danish Cinema Hitting on All Cylinders at Home and Abroad 06 February 2019 by Nick Vivarelli The Danish film industry is on a roll this year with berths secured at major festivals besides the Berlinale where Lone Scherfig s “ The Kindness of Strangers ” landed the opening slot, just as Susanne Bier s Sandra Bullock starrer “ Bird Box ” is breaking records on Netflix and first-timer Gustav Möller s “ The Guilty ” made the foreign-language Oscar shortlist. Its a particularly good time because different types of local productions are performing well both at home, where the domestic share of total admissions was a strong 29% in 2018, and in the international arena, which is seeing a new generation of Danish directors coming to the fore. Last year there were 26 homegrown titles released in Denmark that sold 3. 8 million tickets total, up from 2. 5 million tickets in 2017, when the national market share was 20. Aside from new works by known names such as Christoffer Boe, whose high-profile crimer “ The Purity of Vengeance ” topped the 2018 chart, ‘The Kindness Of Strangers: First Footage Of Berlin Film Festival Opener By Lone Scherfig 04 February 2019 by Andreas Wiseman Deadline Exclusive: Heres first footage of Lone Scherfig s (An Education) The Kindness Of Strangers, which will kick off the Berlin Film Festival on Thursday and play in Competition. The English-language ensemble drama, about a disparate group of characters struggling to survive during a New York City winter, stars Zoe Kazan, Tahar Rahim, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy. The film is largely set in a Russian restaurant. Kazan plays Clara, a mother with an abusive cop husband, and Riseborough is Alice, an ER nurse who runs a therapy group. Rahim is Marc, the restaurant manager, Landry Jones is Jeff, a young guy looking for a job, and Baruchel plays John, a lawyer with self-esteem issues. Nighy is Timofey, the restaurant owner. Malene Blenkov produced for Denmarks Creative Alliance with Canadas Strada Films. HanWay Films represents world sales. Backers include Ingenious Media and Apollo Media. See full article at Deadline » Berlinale opener 'The Kindness Of Strangers' secures German and Austrian deal 16 January 2019 by Ben Dalton Alamode Film buys the Lone Scherfig drama. Alamode Film has bought German and Austrian rights to Lone Scherfig s Us-set drama The Kindness Of Strangers from UK sales company HanWay Films. The film opens next months Berlin International Film Festival (February 7 – 17) and is also screening in competition. Set in New York City, The Kindness Of Strangers follows a group of strangers who come together to find liberation through each other. Zoe Kazan, Tahar Rahim, Bill Nighy, Andrea Riseborough, Caleb Landry Jones and Jay Baruchel lead the cast. The film is produced by Malene Blenkov for Denmarks Creative Alliance Alamode Acquires Lone Scherfigs Berlin Opener ‘The Kindness of Strangers by Stewart Clarke Munich-based Alamode has taken German and Austrian rights to Lone Scherfig s “ The Kindness of Strangers, ” ahead of the pictures opening-night gala screening at the Berlin Film Festival next month. Alamode acquired the rights from London-based HanWay Films, which is handling worldwide sales. Entertainment One is distributing the film in Canada and Sf Studios in Scandinavia. Danish director Scherfigs ensemble drama is set in a Russian restaurant in New York and is billed as “a tale about hope, forgiveness and love. ” The film stars Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, and Bill Nighy. Rahim is Marc, the restaurant manager; Landry Jones is Jeff, a young guy looking for a job; and Baruchel plays John, a lawyer with self-esteem issues. Nighy plays Timofey, Top 150 Most Anticipated Foreign Films of 2019: 110. The Kindness of Strangers – Lone Scherfig 02 January 2019 by Nicholas Bell The Kindness of Strangers Dogme 95 alum Lone Scherfig continues in English for her tenth film, The Kindness of Strangers, a Danish-Canadian co-production, which takes place in a Russian restaurant in New York. Produced by Malene Blenkov and Sandra Cunningham through Denmarks Creative Alliance, Canadas Strada Films with co-producers through Germanys Nadcon, Swedens Unlimited Stories and Frances DArtagnan, Scherfigs international cast consists of Andrea Riseborough, Tahar Rahim, Zoe Kazan, Jay Baruchel, Bill Nighy, David Dencik and Caleb Landry Jones. Sebastian Blenkov, who lensed Scherfigs The Riot Club (2014) and 2016s Their Finest (review) returns as cinematographer. Scherfigs first big break was with 2000s Italian for Beginners (review) which took home the Ecumenical Jury Prize and the Silver Bear Jury Prize at the 2001 Berlin International Film Festival. … Berlin 2019: Lone Scherfigs ‘The Kindness Of Strangers To Open Festival 06 December 2018 The 69th Berlin International Film Festival will open on February 7, 2019 with the world premiere of Lone Scherfig s drama The Kindness of Strangers, which will also play in competition. The English-language Denmark-Canada co-production charts the interconnected story of a handful of New Yorkers struggling with personal crises during the citys unforgiving winter. The ensemble cast includes Zoe Kazan, Tahar Rahim, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy. HanWay Films represents worldwide sales rights with backers including Ingenious Media and Apollo Media. Entertainment One will distribute the film in Canada and Sf Studios in Scandinavia. Malene Blenkov produced the film for Denmarks Creative Alliance and Canadas Strada Films with the participation of The Danish Film Institute and Telefilm Canada, Danmarks Radio, Ontario Creates, Copenhagen Film Fund, Swedish Film Institute, Nordisk Film & TV Fond, Entertainment One and Ingenious Senior Film Fund / Apollo Media, in co-production with Swedens Unlimited Stories, Lone Scherfig's 'The Kindness Of Strangers' to open 2019 Berlin Film Festival The cast includes Zoe Kazan, Tahar Rahim, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy. The 69th Berlin International Film Festival will open with the world premiere of Lone Scherfigs The Kindness Of Strangers on February 7 2019. It will screen in competition. The English-language film stars Zoe Kazan, Tahar Rahim, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy. Written by Scherfig, it is a contemporary drama following a disparate group of characters struggling to survive in a New York City winter. Scherfigs extensive history with the Berlinale began with The Birthday Trip which screened in First Look at Lone Scherfigs ‘The Kindness of Strangers (Exclusive) 06 September 2018 by Leo Barraclough Variety has been given the exclusive first-look image from “ The Kindness of Strangers, ” the latest film from Lone Scherfig, director of the Oscar nominated “ An Education. ” The film is a modern-day fairy-tale set in a Russian restaurant in New York. Zoe Kazan, Tahar Rahim, Andrea Riseborough, Caleb Landry Jones, Jay Baruchel and Bill Nighy star in the film, which is in post-production. HanWay Films represents worldwide sales and distribution rights, backed by Ingenious Media and Apollo Media. Entertainment One will distribute the movie in Canada and Sf Studios in Scandinavia. The film centers on Clara (Kazan) a mother looking to avoid her abusive cop husband; Alice (Riseborough) a shy ER nurse who has found her calling running an eclectic therapy group; Marc (Rahim) an ex-con now turned manager of the restaurant; Jeff (Landry Jones) a young man in desperate need of a job; John Peter (Baruchel) a lawyer with high Bill Nighy, Caleb Landry Jones, Jay Baruchel Join Lone Scherfigs New York Restaurant Movie 28 March 2018 by Dave McNary Bill Nighy, Caleb Landry Jones and Jay Baruchel have joined Andrea Riseborough, Tahar Rahim and Zoe Kazan in director Lone Scherfig s untitled New York restaurant project. Principal photography started in Toronto on March 23. The film will also shoot in Copenhagen and New York City. The film, unofficially titled “ Secrets From the Russian Tea Room, ” takes place in the heart of New York City at an opulent Russian restaurant, owned by Nighys character. Jones portrays a young man in desperate need of a job, while Baruchel will play a lawyer with high ethics but low self-esteem. HanWay Films has acquired worldwide sales and distribution rights backed by Ingenious Media and Apollo Media. Nighy collaborated with Scherfig in “ Their Finest ” and Jones starred in “ Three Billboards Outside Ebbing, Missouri. ” Kazan is playing a mother looking to avoid her abusive cop husband, Bill Nighy, Caleb Landry Jones, Jay Baruchel join Lone Scherfig feature as shooting starts New additions line up alongside Andrea Riseborough, Tahar Rahim and Zoe Kazan. Bill Nighy (Love Actually) Caleb Landry Jones ( Get Out) and Jay Baruchel (Goon) have joined the cast of Lone Scherfig s untitled new feature, as shooting commences. Principal photography began in Toronto on March 23, with filming also lined up for Copenhagen and New York City. As announced exclusively by Screen last month, Andrea Riseborough (Birdman) Tahar Rahim (A Prophet) and Zoe Kazan ( The Big Sick) lead the cast. The film is a modern-day fairytale set in a Russian restaurant in New York City, as a collection of characters Bill Nighy, Caleb Landry Jones & Jay Baruchel Join Lone Scherfig Drama, Shoot Underway In Toronto Exclusive: Bill Nighy (Love Actually) Caleb Landry Jones (Three Billboards Outside Ebbing Missouri) and Jay Baruchel (Goon) are joining the cast of Lone Scherfig s latest movie, I can reveal. The movie is now underway in Toronto and will soon head to Copenhagen and New York. As previously announced, Andrea Riseborough (Death Of Stalin) Tahar Rahim ( A Prophet) and Zoe Kazan ( The Big Sick) also star in the ensemble piece from the One Day and Their Finest filmmaker, who has also written the script. The project was previously announced as Secrets From The Russian Tea Room but the film is currently untitled as the filmmakers consider another name. UK sales outfit HanWay has world sales rights with finance on the movie coming from Ingenious Media and Apollo Media. I can also reveal today that Entertainment One will distribute in Canada and Sf Studios in Scandinavia. The movie, Lone Scherfig to Direct Modern-Day Fairy Tale “Secrets from the Russian Tea Room” 16 February 2018 by Laura Berger Women and Hollywood Scherfig: The Movie Times/ YouTube Lone Scherfig s follow-up to “Their Finest” sees her leaving the London Blitz behind for a modern-day fairy tale set in New York City. The Danish filmmaker has signed on to write and direct “ Secrets from the Russian Tea Room, ” Deadline reports. Zoe Kazan (“ The Big Sick ”) Andrea Riseborough (“ Battle of the Sexes ”) and Tahar Rahim (“ A Prophet ”) will star. The pic tells the story of four people suffering through the worst crises of their lives. That same year, they “gradually become each others closest allies and forever change one anothers lives through compassion, kindness, and love. ” A collaboration between multiple countries, “ Secrets from the Russian Tea Room ” will be produced by Malene Blenkov (“ Bridgend ”) for Creative Alliance and Canadas Strada Films, in co-production with Frances DArtagnan, Germanys Nadcon, and Swedens Unlimited Stories. The pics production will kick See full article at Women and Hollywood » Andrea Riseborough, Tahar Rahim, Zoe Kazan to star in Lone Scherfig drama (exclusive) by Tom Grater HanWay Films has acquired worldwide sales rights; touting project at Efm. Lone Scherfig s forthcoming Secrets From The Russian Tea Room has cast up ahead of shooting this spring. Bafta-nominated Andrea Riseborough ( The Death Of Stalin) Cesar winner Tahar Rahim (A Prophet) and The Big Sick star Zoe Kazan will play a group of people going through the worst crises of their lives: an ER nurse who runs an eclectic therapy group (Riseborough) an ex-con turned manager of the titular Tea Room (Rahim) and a mother looking to avoid her abusive cop husband (Kazan. The film will shoot at the iconic Russian Tea Room in Manhattan, New York. HanWay Films has acquired worldwide sales rights and will be touting the project at this weeks European Film Market (Efm) in Berlin. The company has previously handled sales on four Lone Scherfig titles, including period drama Their Finest starring Gemma Arterton, Bill Nighy and [link=nm Andrea Riseborough, Tahar Rahim, Zoe Kazan to star in new Lone Scherfig film (exclusive) Agency Casting Call 23 June 2017 by Michael Stevens SneakPeek According to agent Melissa Lee of Toronto's Ml Talent Agency, the deadline for new actors/actresses, inexperienced/experienced, to register online with the agency as a background performer (extra) for Toronto-based feature films, TV series and commercials, has been extended to Friday June 23, 2017: Lee, the owner of Ml Talent Agency is a founding member, and Co-Chair of the Toronto Talent Agent Association (Ttaa. online agency registration here Recent Toronto film productions include " Suicide Squad. Dark Matter. The Strain. RoboCop. Carrie. Resident Evil: Afterlife. Designated Survivor. The Handmaid's Tale. Pixels. 12 Monkeys. Suits. 11:22. 63. Downsizing" plus the new " Star Trek " TV series. Star Trek: Discovery. Here is the Toronto Film Production Update for June 2017: 12 Monkeys - Season 4 TV Series Universal Television Enterprises LLC Prod. Michael Wray Exec. Producer: Terry Matalas Dir. Various Apr 3 – Jul 7/17 Condor Season 1 TV Series T5 Condor Productions Inc. Exec. Prods. Jason Smilovic, Todd Katzberg, Lawrence Trilling Dir. Lawrence Trilling. tba Apr 24 - Aug 15/17 Crawford Season 1 TV Series Crawford Season One, Inc. Prod. Laura Michalchyshyn, Mike Clattenburg Dir. Mike Clattenburg Apr 17 - Jun 28/17 Green Harvest TV Series Streak Productions Inc. CBS Prod. Kevin Lafferty, Loretta Ramos, Aaron Baiers Exec. Bryan Fuller, Heather Kadin, Gretchen Berg, Aaron Harberts Dir. various Jan 24 – Oct 6/17 People Of Earth Season 2 TV Series Slanted Films Prod. Paula Devonshire Exec. David Jenkins, Norm Hiscock, Aaron Shure Dir. Various May 1 - Jul 17/17 Salvation Season 1 TV Series CBS Producer: Robert Ortiz Exec. Liz Kruger, Craig Shapiro, Heather Kadin, Aaron Beiers, Stuart Gillard Dir. Various March 1 - Aug 3/17 Secrets From The Russian Tea Room Feature Rtr 2016 Ontario Inc. Malene Blenkov, Sandra Cunningham, Robin Cass LP: Kristina Kornum (Denmark) Lisa Kussner (Canada) Dir. Lone Scherfig May 8 – Jun 2/17 Star Falls TV Series Breakthrough Ent Prod. Jim Corson Exec. :George Doty, Joan Lambur, Ira Levy, Peter Williamson, Michael McGuigan, Nat Abraham, Dir. Various May 8 - Aug 4/17 The Lead TV Series CTV / eOne Prod. Brian Gibson Exec. Ilana Frank, Adam Pettle, Ley Lukins, Linda Pope Dir. various Apr 17 - Jul 25/17 Cardinal: Blackfly Season Mini Series Sienna Films/eOne Prod. Jessica Daniel Dir. Jeff Renfroe May 29 – Aug 4/17 Code 8 Feature Code 8 Films Inc. Producer: Jeff Chan Director: Jeff Chan May 29 - Jul 14/17 Fahrenheit 451 TV Movie HBO Films / Morning Star Prods. Ltd. David Coatsworth, Sarah Green Dir. Ramin Bahrani Jul 10 – Sep 8/17 Frankie Drake TV Series Shaftesbury Frankie I Inc. Julie Lacey, Jonathan Hackett Dir. Various Jun 19 - Oct 26/17 Girl Underground (working title) TV Movie Cineflix (Captive) Inc. Thomas Vencelides Dir. Stephen Kemp May 16 – Jun 1/17 Little Italy Feature Pizza Lovers Productions Ltd. Vinay Virmani, Ajay Virmani, Pauline Dhillon Dir. Donald Petrie May 17 - Jun 26 /17 Suits Season 7 TV Series NBC Universal Prod. Mark Winemaker Dir. Various Apr 4 - Nov 15/17 The Detail TV Series CTV / eOne Prod. Brian Gibson Dir. various Apr 17 - Jul 25/17 The Expanse Season 3 TV Series SyFy Prod. Manny Danelon Dir. Various Jul 12 - Dec 8/17 See full article at SneakPeek » Toronto Film. 12 Monkeys. Fahrenheit 451. Code 8" 02 June 2017 Thanks to here is the Toronto Film Production Update for June 2017 including "12 Monkeys. Fahrenheit 451. Code 8 " and a whole lot more: Extras" Needed For Toronto Movies/TV 12 Monkeys - Season 4 TV Series Universal Television Enterprises LLC Prod. David Jenkins, Norm Hiscock, See full article at SneakPeek », Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.

NO NO NO NO DON'T MAKE HIM CRY. 71 Best all movie new2019 full online HD images, Movies online, Movies to watch, Movies 2019. The Kindness of Strangers Directed by Lone Scherfig Produced by Marlene Blenkov Sandra Cunningham Written by Lone Scherfig Starring Andrea Riseborough Tahar Rahim Zoe Kazan Bill Nighy Caleb Landry Jones Jay Baruchel Music by Andrew Lockington Cinematography Sebastian Blenkov Edited by Cam McLauchlin Production companies HanWay Films Ingenious Media Apollo Media Creative Alliance Strada Films WDR Distributed by Entertainment One Vertical Entertainment Release date February 7, 2019 ( Berlin) February 14, 2020 (United States) Running time 112 minutes [1] Country United States United Kingdom France Germany Sweden Canada Language English Box office 36, 713 [2] The Kindness of Strangers is a 2019 internationally co-produced drama film, written and directed by Lone Scherfig. It stars Andrea Riseborough, Zoe Kazan, Tahar Rahim, Bill Nighy, Caleb Landry Jones, and Jay Baruchel. It had its world premiere at the Berlin International Film Festival on February 7, 2019. It is scheduled to be released in the United States on February 14, 2020, by Vertical Entertainment. Cast [ edit] Andrea Riseborough as Alice Tahar Rahim as Mark Zoe Kazan as Clara Bill Nighy as Timofey Caleb Landry Jones as Jeff Jay Baruchel as John Production [ edit] In February 2017, it was announced Lone Scherfig would direct the film, from a screenplay she wrote, with HanWay Films, Ingenious Media, Apollo Media, Creative Alliance, Strada Films, Telefilm Canada, Danish Film Institute, Nadcon, D'Artaganan and Entertainment One serving as producers. [3] 4] In February 2018, Andrea Riseborough, Tahar Rahim and Zoe Kazan joined the cast of the film. [5] In March 2018, Bill Nighy, Caleb Landry Jones and Jay Baruchel joined the cast of the film. [6] In September 2018, it was announced the title was The Kindness of Strangers. [7] Filming [ edit] Principal photography began in March 2018, and took place in Toronto, Ontario, Canada, New York City, and Copenhagen, Denmark. [8] Release [ edit] It had its world premiere at the Berlin International Film Festival on February 7, 2019. [9] It is scheduled to be released in the United States on February 14, 2020, by Vertical Entertainment. [10] Critical response [ edit] According to the review aggregator website Rotten Tomatoes, 5% of critics have given the film a positive review based on 19 reviews, with an average rating of 3. 89/10. [11] Metacritic reports a score of 32/100 based on 8 critcs, indicating "generally unfavorable reviews. 12] References [ edit] "The Kindness of Strangers. Berlin International Film Festival. Retrieved January 29, 2019. ^ The Kindness of Strangers (2019. Box Office Mojo. IMDb. Retrieved January 13, 2020. ^ Pham, Annika (February 2, 2017. Lone Scherfig's Secrets from the Russian Tea Room receives Funding. Norsidk Film. Retrieved March 26, 2018. ^ Rossing Jessen, Jorn (February 4, 2018. Goteborg: An Education's' Lone Scherfig on 'Their Finest. the U. K. Film Industry, Entering Other Worlds. Variety. Retrieved March 26, 2018. ^ White, Peter (February 16, 2018. Lone Scherfig Drama; HBO Europe Hacker Drama; Strange But True' US Deal – Berlin Briefs. Deadline Hollywood. Retrieved March 26, 2018. ^ Wiseman, Andreas (March 28, 2018. Bill Nighy, Caleb Landry Jones & Jay Baruchel Join Lone Scherfig Drama, Shoot Underway In Toronto. Retrieved March 28, 2018. ^ Barraclough, Leo (September 6, 2018. First Look at Lone Scherfig's 'The Kindness of Strangers' EXCLUSIVE. Retrieved September 6, 2018. ^ Saalbach Holse, Liv (February 19, 2018. INTERNATIONAL STELLAR CAST SIGN ON TO AWARDWINING DIRECTOR LONE SCHERFIG'S NEW FILM. Copenhagen Film Fund. Retrieved March 26, 2018. ^ Wiseman, Andreas (December 6, 2018. Berlin 2019: Lone Scherfig's 'The Kindness Of Strangers' To Open Festival. Retrieved December 6, 2018. ^ Billington, Alex (January 13, 2020. Zoe Kazan Leads the Official US Trailer for 'The Kindness of Strangers. Retrieved January 13, 2020. ^ The Kindness of Strangers (2020. Rotten Tomatoes. Fandango. Retrieved January 19, 2020. ^ The Kindness of Strangers Reviews. Metacritic. CBS Interactive. Retrieved January 19, 2020. External links [ edit] The Kindness of Strangers on IMDb.

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In addition, Amazon, HBO and Ryan Murphy Productions are among 25 companies and organizations to pledge to become ReFrame Partners. A little over a year after the unveiling of ReFrame, an ambitious coalition of more than 50 top-level industry executives and creatives committed to achieving gender parity in Hollywood, the supergroup is ready to announce the first results of one of its founding initiatives. Amy Baer, who has deep industry experience as a top studio executive and more recently as a producer working with major talent, has been elected board president of Women in Film. She steps into the role at a critical juncture in Hollywood, as the entertainment industry faces a broad reckoning over gender disparities and sexual harassment. 02/20 Is Inclusion a Box Office Boost? How much does inclusion influence a films financial performance? A new study sheds light on the factors that make money and what matters most. 01/20 Women In Film, Los Angeles Adds Four New Members to the 2020 Board of Directors 01/20 ReFrame Announces that the ReFrame Stamp for Gender-Balanced Scripted Series is Being Awarded to 21 of the Top 100 Most Popular TV and Streaming Shows from 2018-2019. Shows Meeting the Criteria from the Past Two Seasons Include “Fleabag, ” “The Marvelous Mrs. Maisel, ” “GLOW, ” “The Act, ” and “The Walking Dead” 01/20 Captivating Content: Deltas In-House Startup and Studio Partnerships Will Make You Wish Your Flight Was Longer 09/19 Women In Film, Los Angeles Hosting Inaugural Showcase of Film Finishing Fund Recipients as Part of Stella Artois Grant Program; Event to Feature Female Filmmakers Socially-Conscious Fare 08/19 Women In Film Sexual Harassment HELP LINE to Expand Services to New York State 07/19 The Black List and Women In Film, Los Angeles Announce Participants and Mentors for 2019 Feature Programs 06/19 Women In Film and Pepperdine University Partner on ENTREPRENEURIAL PATHWAYS, a New Initiative to Improve Funding for Women-led Businesses in the Screen Industries 06/19 Women In Film, Los Angeles Celebrated the 2019 Women In Film Annual Gala 06/19 Presenters Announced for the 2019 Women In Film Annual Gala: Viola Davis, Natasha Lyonne, and Maria Giulia Maramotti Added as Presenters 05/19 Women In Film, Los Angeles Announces 2019 Annual Gala Honorees: Amy Poehler, Issa Rae, Elizabeth Debicki, and Cathy Schulman 04/19 Women In Film Finishing Fund Applications Open 03/19 Women In Film Los Angeles Adds Five New Members to the 2019 Board of Directors 02/19 Women In Film and Max Mara Announce Elizabeth Debicki as the Recipient of the 2019 Women In Film Max Mara Face of the Future Award 06/18 Honoring Women of BLACK PANTHER at the Crystal + Lucy Awards 06/18 2018 Announcing New Women In Film Board President, Producer Amy Baer 06/18 First ReFrame Stamp Recipients Announced 05/18 2018 Crystal + Lucy Honorees Announced 01/18 Women In Film Finishing Fund Recipients Announced 09/17 Trailblazing Women In Film 07/17 Women In Film & The Black List Launch Inaugural Feature Film Lab 05/17 Women In Film Finishing Fund Applications 05/17 Women In Film 2017 Crystal + Lucy Awards 02/17 Women In Film, Sundance Institute and 50 Hollywood Leaders Launch ReFrame to Create Sustainable Gender Equity in Film and Television 11/16 2016 Film Finishing Winners Announced (Updated 12/16) 07/16 2016 Systemic Change Project Director Alison Emilio Announced 07/16 WIF/Blacklist Episodic Lab Participants Announced 05/16 2016 CRYSTAL + LUCY AWARDS HONOREES 05/16 WIF Announces Music Committee 03/16 Women In Film/The Black List Announce Writers Lab 01/16 Women In Film/Sundance Grants Announced 12/15 Film Finishing Fund Recipients Announced 12/15 WIF-Sundance Systemic Change Project 06/15 TCM and WIF Announce Partnership 04/15 WIF-Sundance Groundbreaking Study 03/15 2015 Crystal + Lucy Award Nominees Hours after Harvey Weinstein announced he would not testify before a grand jury the same panel has now indicted the disgraced produced on two sets of rape charges and a sex crime charge. “A Grand Jury has voted to indict Harvey Weinstein on charges of Rape in the First and Third Degrees, and Criminal Sexual Act in the First Degree, ” said Manhattan District Attorney Cyrus Vance Jr. this afternoon. Read the two-page indictment here, but a warning there are some graphic descriptions of sex acts within it. If found guilty, Oscar winner Weinstein could find himself behind bars for up to 25-years. On May 25, the producer was made to do the perp walk by the NYPD after surrendering himself to be has been charged in a criminal complaint with two counts of rape — one involving force — as well as criminal sexual act in the first degree, for alleged assaults against two women that occurred in 2013 and 2004. If that sounds familiar it is because it is exactly the same charges the indictment just slapped down. While the D. A. has been pecked at for moving too slow on the material the NYPD handed over on the much accused Weinstein, the grand jury has quietly been sitting for several weeks and issuing subpoenas. A process that has now been unleashed. “This indictment brings the defendant another step closer to accountability for the crimes of violence with which he is now charged, ” the often criticized D. of the latest legal move against the producer. “Our office will try this case not in the press, but in the courtroom where it belongs. The defendants recent assault on the integrity of the survivors and the legal process is predictable. We are confident that when the jury hears the evidence, it will reject these attacks out of hand. ” While Weinsteins reps and attorneys did not respond to request for comment from Deadline on todays indictment, they cant be deaf to the unflattering shout out Vance just gave them. The remark about not trying the matter in the media is clearly directed at Weinstein lawyer Benjamin Brafman, who has been in front of the press repeatedly the past few days with trial balloons so speak of being denied vital case information and concerns if his client could get a fair trial in a media inflated environment. The New York attorney has also taken to trying to undermine the case by stating that one of the women cited in the May 25 charges and the ones today was someone Weinstein had a “consensual sexual relationship” with for five years before and several years after the alleged 2013 rape. Add to that, nudges and winks of ” unfair political pressure being placed on Cy Vance to secure a conviction of Mr. Weinstein, ” and you have a defense strategy in the offering. “The announcement of Mr. Weinsteins Indictment, does not come as a surprise, ” Brafman said after this afternoons announcement. “Indeed, it was predicted by me this morning in an earlier statement we issued, ” he also made a point of noting. “We also note of course that the Indictment merely mirrors the same charges in the criminal court Complaint and does not add anything to the case we did not already asked the District Attorney for more time so that Mr Weinsteins attorneys could gather the material needed to properly prepare him for his grand jury testimony but that request was denied. ” “We remind everyone that an Indictment is merely a formal accusation, ” Brafman asserted Wednesday for his client. “Mr Weinstein intends to enter a plea of Not Guilty and vigorously defend against these unsupported allegations that he strongly denies. We will soon formally move to dismiss the indictment and if this case actually proceeds to trial, we expect Mr Weinstein to be acquitted. ” As well as being investigated by federal prosecutors, the Manhattan D. and the NYPD, Weinstein is being scrutinized too by the LAPD, which sent three cases to the L. County D. on February 8. As UK police continue their probe, the Beverly Hills Police passed two cases of sexual assault to Jackie Laceys office on January 2. There are also nearly a dozen lawsuits filed in the courts against Weinstein from some of the 80 women who have gone pubic with allegations of sexual assault and more by the once powerful producer in the past several months. After booking in a NYPD precinct, Weinstein was arraigned on felony sex crime charges in New York Criminal Court on May 25 A judge set a prearranged bail of 1 million, a 10 million bond, took Weinsteins passport to halt concerns of flight risk and clamped a monitor on the producer to ensure his movements were restricted to the Empire State and Connecticut. Attorney Brafman said on the court steps last weeks that he will to appeal ASAP to get the case tossed out – likely doubly so now. On the evening of June 13, 2018, we will hold our annual star-studded event! Click to learn more and purchase tickets and tables. Since 1977, Women In Film, Los Angeles has annually honored outstanding women in the entertainment industry – women who lead by example, are creative, groundbreaking, and excel at their chosen fields. The annual benefit gala supports WIF LAs educational and philanthropic programs and its advocacy for gender parity for women throughout the industry. The evening, themed “Ignited, ” will be held on Wednesday, June 13 at The Beverly Hilton in Beverly Hills, CA. Women In Film is now accepting applications for its 2018 Finishing Fund and Belgian beer Stella Artois continuing its support of female filmmakers with the announcement of 100, 000 in new grant funding. The Women in Film Finishing Fund will award 10-15 grants in cash and in-kind gifts for films by and/or about women as represented in documentary, fiction, animated and/or experimental films, shorts or feature length. Stella Artois will provide four 25, 000 grants for fiction and documentary films that inspire social change, with particular consideration given to films with a water theme. The United State of Women is a national organization for any woman who sees that we need a different America for all women to survive and thrive — and wants to work collectively to achieve it. USOW amplifies the work of organizations and individuals at the forefront of the fight for womens equality, and provides tools, access and connections that help women see and step into their power to break down the barriers that hold women back. UPM / Line Producer / Creative Producer Award-winning Producer, effective UPM / Line Producer. Let me help you Budget your Film and/or Series and get it made., 310/785-0687 Katie is a USC graduate with producing and coordination experience looking for the opportunity to assist a Producer. Enjoys working hard, cares about the environment. E: C: 516-780-2104 ScreenJunkies is proud to partner with Women in Film for an incredible Movie Fights special event on Thursday, May 3rd at 3:00 PM PST on Throughout the month of April, ScreenJunkies is raising money to support Women In Films mission to advocate and advance the careers of women both in front of and behind the camera, culminating in one massive live show. Who is the best action star of all time? Whats the greatest sci-fi movie ever made? The big arguments get settled on Movie Fights: the high-energy movie debate show where fighters arguments are scored for facts, passion, and creativity! On Monday Night, we held our monthly Speaker Series at the West Hollywood Library. This months topic was “Breaking the Oscars Mold, ” and reporter Rebecca Sun spoke with Hollywood Producers — Oscar winners Blye Pagon Faust & Nicole Rocklin and Oscar nominee Bonnie Arnold about their road to The Oscars. Two days after Best Actress winner Frances McDormand led a handful of female Oscar nominees and winners to stand as she urged for more inclusion in Hollywood, the ReFrame initiative has generated a handbook with numerous key proposals its organizers believe will help promulgate meaningful reform and diverse hiring practices in the film and TV businesses. Writers Assistant/ Producers Assistant/ Production Assistant. Past experience on set for multiple television shows and movies including: The Exorcist (Fox) Shrink (Seeso) The Patriot (Amazon) Widows, and Rampage. Highly personable, hard worker, team player, organized. Skills: script coverage, reading, scheduling, producing, editing, writing, marketing, and videography. BA from Columbia College Chicago. (603) 662- 3200 SCOTT written by Anna Rose Moore After her best friend dies, a success-driven lawyer is left with an unwinnable case – a female inmates accusations of rape by her prison guards. She soon uncovers a massive systemic scandal of sexual abuse by prison staff and the network used to cover it up. GIRL ADRIFT written by Wendy Holley Girl Adrift is a comedy about the ambitious and spirited Margaret Fitzgerald. Shes sixty going on 25, and has been living on the edge her entire life, traveling to the ends of the earth and back, believing youre never too old to follow your passion. Yet, she now finds herself alone, divorced, estranged from her daughter, and desperately trying to survive in the rat race of everyday life, including managing the career of Molly, a talented but portly aspiring actress. It is through Molly, that Margaret seeks redemption by attempting to overcome all obstacles to achieve their big break together. MICKEY AND THE BEAR written by Annabelle Attanasio A scrappy teenage girl needs to find a way out of her codependent relationship with her veteran father. Set in present day Anaconda, Montana. UNLIKELY LOVES written by Sonnhild Krug When Glorias grandchildren find long forgotten letters from her high school sweetheart Harry, promising to take her to Paris, she sets out on a mission to convince him to make the trip before it is too late. But when Harry dies in an accident, Gloria needs to find a way to make her dream come true on her own. MUSIC FESTIVAL written by Alexandra Gioulakis The summer after graduating high school, aimless teen Dylan and her friends attempt to gain entry into a local music festival. ANOTHER ALEX written by Lyralen Kaye An Episcopal priest who always goes the extra mile finds is challenged when her daughter returns home with a transgender girlfriend, forcing her to examine the dynamics within her family and church over the course of an emotional and challenging weekend. LOST GIANT written by Grace June Cleere When a troubled teacher accidentally thwarts the suicide attempt of a man she mistakes for a child, an unexpected bond forms that alters both of their lives forever. JUNIPERS POINT written by Amber Alexander A formidable mountain woman investigates a murder in her religious community and becomes entangled in a bloody battle for life, death and justice. THE LAST FALL written by Cate Honzl, Adam Honzl In the wake of societys collapse, a determined but bitter woman must protect her precocious niece and isolated farmhouse from suspicious newcomers, mysterious fires, and violent bandits as the impending winter threatens to bury them all. NEVER GOODBYE written by Edina Kishonthy An American art historian woman visits Leningrad in the 70s and falls in love with a dissenting painter. Their romance inadvertently poses a risk to Soviet national security, summoning the attention of the KGB… LITTLE PIECES OF EVERYTHING written by Melissa Turkington After the death of her grandmother, Naya is sent to a decaying foster camp at the edge of the world. There, she must escape adoption and reunite with her mother, a woman she has only seen in her imagination. LUCID written by Holly Stanford-Brown Upon going to sleep, a grieving art professor whose life is falling apart finds himself in an alternate universe where hes reunited with his deceased daughter A BILLION ELECTRICAL IMPULSES & BREAKABLE PARTS written by Anne Weisenstein In 1960s New York, a young computer programmer attempts to find love by creating the worlds first computer dating service. PLAIN JANE written by Keely Lewis Wise When buttoned-up LA morning news anchor Jane Wilson lands the network job of her dreams, she must return to her Bible Belt hometown to make sure a salacious secret from her past doesnt destroy her future. DIANA TRULY written by Michele W. Koop Diana Truly is a family comedy about a ten year-old American girl who, convinced she is Princess Diana reincarnated, packs her bags and runs off to England to rejoin her sons. We are so proud of our members and their amazing trailers!  We had 120 submissions, which were judged by eight active industry professionals from Seed and Spark, Steakhaus Productions, Haven Entertainment, and  LA   Bellatin i   Casting.   The top one third have advanced to the semi-finals, where they were judged by studio execs and agents from Lionsgate, Intermark Consulting, OWN, Mobscene, Netflix, and Pandemonium Films. We are pleased to announce that the finalists have been selected and will screen at an exclusive networking event  February 27th  at Netflix. More details will be forthcoming. Congratulations and well-done, female filmmakers! Mini Upfronts Finalists Insane Jane – Zoe Quist Ride Share With Rebecca – Rebecca Stay Full Take – Morgan Lariah Spectacular Testicle Spectacle –  Lagueria  Davis The Comedown – Becca Braren Flip The Script – Ally Iseman Gregs Story – Margaret Dudley Date-a-Human – Joy Gohring Stripped – India Dupre The Process – Mitzi Kapture Animal Magnetism – Jennifer Mangan UnCorked – Mandy June Turpin Q. U. E. N. – Brittany Fennell Last Life – Tamika Lamison Cancer: A Love Story – Christen Clifford Kid Justice – Yolanda Buggs Wasted – Dana Gartland Six years ago, Sundance Institute and Women In Film Los Angeles launched an initiative to foster gender parity for women behind the camera. Our first step was to understand the root causes and hard numbers behind the paucity of American women filmmakers so we could design effective ways to improve on the status quo. When we analyzed the systemic obstacles and opportunities facing women in American independent film, the most frequent barrier cited was lack of knowledge of film financing and skills related to raising capital from investors. The 2018 Financing and Strategy Intensive carries on a five year project designed to address these needs head-on. Held on Monday, April 9 and Tuesday, April 10, 2018, this clinic is designed to help approximately 25 filmmaking teams advance a front-burner project to the next stage. Over two days, filmmaking teams will participate in the following events: small group workshops focused on both pitching and financing strategy, an evening panel on indie film financing, and one-on-one meetings with potential financiers and partners The goal of this Intensive is for filmmakers who are actively seeking financing to walk away with stronger presentations as well as actionable, strategic steps to advance their projects to the next stage, and a chance to meet with potential partners. Eligibility To be eligible to apply through Women In Film, each filmmaking team must have: 1) A strong feature-length documentary or scripted project actively seeking financing. 2) The ability and willingness to discuss that project in small groups comprised of fellow filmmakers and high level advisors. 3) Producer-director teams are welcome, as are producers or directors on their own. If a producer attends on their own, there must be a director attached to the project. If a director attends on their own, they should be a director-producer hyphenate or be intricately involved in financing the project. This is a producing-intensive clinic, and that skill set will be required. 4) This Clinic will not be appropriate for highly seasoned filmmakers. First time filmmakers with strong projects are appropriate as are mid-career artists who would benefit from pitching, financing, and strategy counsel. 5) One participant with active Women In Film membership. 6) Los Angeles residence or means to attend. Travel is not provided. Submissions due by 9am PST, March 5, 2018 Participants will be informed of selection the second week of March CLICK TO APPLY For Black History Month, Women In Film staff share favorite moments with African American women in film. On Saturday, 20 January, 2018,  Jennifer  Mangan  and the WIF Mini Upfronts partnered with Canon Burbank to present  Beyond the Trailer: Creating Marketing Materials that Sell Your Project.   Our esteemed panelists  Michael  Fisk  (Intermark Consulting, former International Marketing Exec at Lionsgate and Sony)  Alex Kostich  (SVP–Creative, Participant Media)  Nuria Botella  (Director–Marketing and Publicity, Myriad Pictures) and  Katie Bender  (Documentary Filmmaker and Creative Producer, Binding Films) generously advised a full house of 70 filmmakers about One Sheets, Posters, Look Books, and how/when to use each one effectively.  While the examples they showed are proprietary (so we cant show them here) salient take-away points included: What is a One-Sheet? When do I use it?   A One-Sheet is similar to a poster, but this is used to attract investors and distributors, rather than movie-going audiences.  A One Sheet can actually be either one-sided or two-sided (the name One Sheet comes from early studio days, when they printed all materials on one sheet of paper, fyi.   This will be in portrait (as opposed to landscape) format.  A One-Sheet should include some form of Key Art (picture or image that conveys the idea/theme and tone of your project.   This Key Art may actually come from your on-set photography, but more often than not you will be creating the One Sheet before you have shot your film.  As such, stock images of your (already signed) cast may be used, or other images (close-ups of lips, apples, the moon, etc. – anything that conveys the idea/theme of your project) may be used effectively.  In addition to the Key Art, the title and a logline (one line that sums up the idea of your film) should be included on the front side. On the back side, a short synopsis of the script should be included, as well as   the directors statement (presuming one is already attached.   Images/Key Art can also be included on the back side, as well as the contact information for your film.  Bottom line: Anything that helps sell your project should be included on this document.  Just make sure to keep it crisp, neat, and easy to read. What is a Poster? When do I use it?   A Poster is what you see in movie theater lobbies, on billboards, etc–the one page print material used to attract movie-going audiences to see your film.  You will create this either during or after you have shot your film, generally using images of your cast taken from on-set photography or using images that come from the film.  It is one page, usually portrait format (as opposed to landscape) and includes Key Art, title, logline, cast names, directors name, website, any positive reviews, and any other information that helps get the public to watch your film (whether in the theater, online, etc. What is a Look Book?  When do I use it?    A Look Book is a document you have put together that conveys the look/feel/mood of your film.  It is mainly used B2B (Business to Business, as opposed to Business to Consumer/Audience.   This will be used in speaking with the art director, marketing director, costume director, etc.  to make sure everyone is on the same page for the look and feel in the overall creation of your film.  It can also be used in conjunction with your One Sheet in attracting investors and distributors.  It will be multiple pages (hence, a “book”) and be in landscape form (as opposed to portrait.   There is no one right way to create a look book, however, you will start with a title page (which can have key art or a colored background) a few pages devoted to the look/mood of the film, a short synopsis, any cast/director attached, any other relevant information that attracts investors/distributors.  In creating the look/mood, you will want to focus on the look/mood both for the film, for the main characters, and for the locations.  It is acceptable to use any and everything that helps, including but not limited to comparable films, pictures of costumes and locations, and potential cast (but make sure you are very clear whether said cast is attached, interested, or you are simply using them as examples of the kinds of people you will approach. An important note stressed by all of our esteemed panelists: Make sure to hire a professional on-set photographer and Unit Publicist!  These should be two line items in your production budget.  They will be worth their weight in gold for use in creating professional marketing materials, including digital/online, which will require loads of uploaded content on an almost daily basis. As with all marketing materials, you will create multiple versions as you move through the process of producing your film.  Whenever an element changes in your project–you signed your cast, you have positive reviews–you will want to create an updated document to keep others apprised of both your project and your progress.  And yes, even for these seasoned professionals, creating these and other marketing materials is a marathon, not a sprint! Look for upcoming panels by WIF Mini Upfronts and Canon Burbank in the next few months. Panel Hosted by HFPA and Sundance Institute at Sundance TV on January 20, 2018. Tina Lifford, Octavia Spencer, Sandra Oh, Reed Morano and Cathy Schulman. Moderated by Elisabeth Sereda. Over 25 years of experience. DGA/PGA. Contact direct: 310-200-3885 IMDBpro link: IMDB link: The Sundance Film Festival kicks off tomorrow, and Im excited to be part of Women In Films crew in Park City. Its a thrill to brave the cold with such an amazing presence of female filmmakers. I am especially gratified that the 2018 festival includes a robust slate of projects by women, including Women In Film members and grantees! This year, 37% of the features at Sundance are directed by women — the Sundance team is getting us that much closer to parity. Three Women In Film Finishing Fund grant recipients will premiere at the 2018 Sundance Film Festival: NANCY, HALF THE PICTURE, and THE DEVIL WE KNOW. These films encompass a huge array of styles and subject matter, which just goes to show that the landscape of female-driven content is sprawling and diverse. One of my favorite takeaways from HALF THE PICTURE, a documentary about the dismal numbers of female directors, was how passionate all of these women were about the craft of filmmaking and their art— even while talking about the sometimes devastating moments they faced in the industry. It is so exciting to support a film that is so incredibly timely and I cannot wait to see the response when it premieres. We received so many wonderful submissions for the Fund, it was a real challenge to select a small percentage of recipients — and it will be so gratifying to see some of these premiering in Park City. You can find a complete list of our grantees here. At a time when women make up 50. 8% of the U. S. population, just 4. 2% of the 100 top-grossing American films are made by female directors; and that statistic hasnt changed over the last decade. It is often through media that we understand ourselves and each other, and so the stories that frame our lives must be inclusive of the full range of voices. This year, of the 122 feature films premiering at the Sundance Film Festival, 37% are directed by women, markedly ahead of the mainstream industry. In celebration of these vital womens voices, see below for a guide to all women-directed media showing at the 2018 Sundance Film Festival. From the halls of the Supreme Court, to an infamous axe murderess, to a river of dead pigs and a kaleidoscopic infinity room, these premieres present characters, ideas, and worlds you wont want to miss! We are so proud of our members and their amazing teasers/trailers! We had over 100 submissions, which were judged by eight active industry professionals from Seed and Spark, Steakhaus Productions, Haven Entertainment, Kick Pictures, Cinefemme, and LA Bellatini Casting. The top one third have advanced to the semi-finals, where they will be judged by studio execs from Netflix, OWN, Pandemonium, Intermark, and Lionsgate. The highest scoring teasers/trailers will be screened at an exclusive networking event in February. More details will be forthcoming. Congratulations and well-done, female filmmakers! Mini Upfronts Semi-Finalists Captain Martian – Ashley Matt The Big Three Are After Me – Jenna Payne Spectacular Testicle Spectacle – Lagueria Davis Graduation – Ren Hanami Viscountess & Maidservant – Tara Strand Mumbet Sizzle – Alethea Root Dufraine Revolution Now – Kathleen Davison Last Night – Megan Brotherton Coast – Pin-Chun Liu Ctrl Alt Delete – Roni Geva Major Violator – Zatella Beatty Little Women – Clare Niederpruem Love Street – Mary Sellers Following – Sarah Smith Liquid Light – Kelly Sheehan Jilted – Susan Graham Does This Baby Make Me Look Fat? – Stephanie Jackson Firm With Purpose – The Ayers Sisters Stage Three – Olivia Marin Worth It – Kristina Thomas XYXX – Morgan Dameron To the Hinterland – S. J. Main Activate! – Katie Koeblitz So Help You God – Ashley York Women In Film, Los Angeles announced the recipients of the 32nd annual Film Finishing Fund. 370 feature-length narrative films, documentaries and shorts were submitted from 22 countries and 16 were chosen as grantees. Previous winners of the Fund have gone on to win Academy, Emmy, Sundance, Berlin Film Festival and Peabody Awards among other accolades The Film Finishing Fund provides cash grants and in-kind production services to complete films that fit the established criteria of being by, for or about women. The works-in-progress are viewed by a special jury of women in the industry who select the winning films. “One of the ways we achieve gender parity, is by ensuring that female filmmakers have the resources they need to produce excellent work, ” said WIF Executive Director Kirsten Schaffer. “Women In Film is enormously proud that for 31 years we have enabled talented filmmakers to complete their films and bring their remarkable stories to the world” From Deadline Happy New Year! What a year 2017 has been for women. We feel and hear the momentum of our collective power, and we are proud of the work that our community, and our organization, has done to mobilize change. Our dedicated members, Staff, and Board give us strength to build new tools to address problems, and even to have some fun along the way. WIF Scholarship Alum & current WIF Mentee Melissa Hickey has been named one of eight fellows in the Sony TV Diverse Directors Program. We are thrilled for Melissa, and will continue to support her in her endeavors as a gifted, emerging director. Call 323-545-0333. 10 AM – 5 PM, Mon-Fri. Since early October, the worlds attention has been focused on the unfolding story of countless allegations of sexual harassment perpetrated by many powerful men in the entertainment industry. In response, Women In Film has launched a Sexual Harassment Help Line — an integrated program to refer victims of harassment to designated mental health counselors, law enforcement professionals, and civil and criminal lawyers and litigators. Anyone, regardless of gender, can access the Sexual Harassment Help Line at 323. 545. 0333. Beginning Friday, December 1, the help line is open M-F from 10am-5pm PST. After hours calls will be returned during business hours. Women In Film Sexual Harassment Help Line In California sexual harassment is defined as a form of discrimination based on sex/gender (including pregnancy, childbirth, or related medical conditions) gender identity, gender expression or sexual orientation. Harassment falls into two categories: Quid pro quo: when someone conditions a job, promotion, or other work benefit on your submission to unwelcome sexual advances or other conduct based on sex and which results in an economic loss if the victim does not submit to the advance; and Hostile Work Environment: when unwelcome comments or conduct based on sex are sufficiently severe or pervasive to unreasonably interfere with your work performance or create an intimidating, hostile or offensive work environment. You may experience sexual harassment even if the offensive conduct was not aimed directly at you. If you experience sexual harassment, consider taking the following steps: Write down the details of each instance, including what happened, when, where, and the names of witnesses (if any) if you havent already. If additional instances occur, write down the details as soon as possible. Having this information on hand will be helpful when you make a report. Report the incident(s.  Your company should have protocol for reporting misconduct. If you dont know it, go to your Human Resources Department or to someone in upper management who is not your immediate supervisor. Its best to put your complaint in writing and keep a copy. Understand your companys investigation process. In California all companies are required to have a formal investigation process, no matter the size of the company. Ask that the process be explained to you if it isnt been, or if you do not have it in writing (usually found in your employee handbook. The investigation (which will be kept as confidential as possible) should result in a decision as to whether the harassment took place, and consequences to the perpetrator. Your employer should communicate the conclusions of the investigation to you. Call an attorney. Even if you dont end up hiring one, an attorney can explain your rights and options and help you to determine your next steps.   The CA Bar Association and The National Employment Lawyers Association can refer you to employment attorneys and help you navigate access to free legal services. California Law mandates that every employer have a clear process for reporting misconduct, that they conduct an investigation, and that they do not retaliate against the employee who reports or participates in an investigation. We often hear from our members that they work for small companies without HR departments and/or no clear process for reporting harassment. We also hear that even when there is a clear process in place, women dont report harassment because they are afraid of how they will be perceived, are uncertain about how speaking up will affect their career, or because they fear retaliation. If your employer does not conduct a proper investigation or retaliates against you, file  a complaint with Californias Department of Fair Employment & Housing (DFEH) and/or the Federal Equal Employment Opportunity Commission (EEOC. It is best to file as soon as you have determined that your employer has not conducted a satisfactory investigation. In most cases a complaint must be filed within 180 days of the most recent incident of harassment (this deadline may be extended to 300 days depending on laws in your state. Other ways to fight sexual harassment in the workplace: Ask your employer to hold a sexual harassment training for all employees (note that companies with 50 or more employees are required to conduct sexual harassment prevention training to supervisors every two years. You can also ask that they hold an unconscious bias training or anti-oppression workshop. These are great ways to create a supportive environment for people to think critically about ingrained behavior patterns and ways to change other employees to talk to management about trainings – it will be more powerful if the request comes from a group. Talk to male allies about speaking up and interrupting inappropriate behavior or harassment on the part of other men. If ultimately you dont feel comfortable or safe in your work environment, consider looking for a new job. Some people and workplace cultures are toxic and hard to change, and the decision to move on can be an empowering one. Talk to people you trust, build a network, and seek out workplace environments that prioritize equity, safety, and transparency. Finally, the best way to fight sexual harassment is for leaders to monitor their company culture. Make it widely known that harassment is unacceptable and that perpetrators will be held accountable. Hold trainings and workshops for all employees, and make sure that complaint and investigation procedure is written and distributed to all. Ensure that employees are comfortable coming forward, and that complaints will be heard and addressed without retaliation. Spend extra time and effort training upper management so that they know what to look out for, and how to handle harassment when they encounter it. As part of  #GivingTuesday, we are raising 25, 000 to support the Women In Film Sexual Harassment Help Line. Since early October, the worlds attention has been focused on the unfolding story of countless allegations of sexual harassment against many powerful men in the entertainment industry. Hundreds of brave people are coming forward to share their stories of survival, and many more continue to give voice to this problem that has existed in our industry and others for generations. Having been at the center of discrimination advocacy on behalf of women for decades, and more recently having financed and guided research and a multi-year awareness campaign to expose gender disparity throughout the screen industries, Women In Film, Los Angeles, has stepped up to the challenge of providing a safe haven for victims of sexual harassment across all disciplines of entertainment, including film, television and music. On November 9, Women In Film announced a new initiative–a Help Line, with the purpose of guiding survivors to the help their situation demands. Women In Films Sexual Harassment Help Line is an integrated program to refer anyone in need of assistance to designated mental health counselors, law enforcement professionals, and civil and criminal lawyers and litigators. Founding Partner WME has provided seed funding to launch the Help Line. Our goal is to raise the remaining 25, 000 needed to get the Help Line up-and-running by December 1. The mission of Women In Film is to advocate for and advance the careers of women working in the screen industries–to achieve parity and transform culture. Your contributions to the Help Line will, indeed, help us transform culture in a very immediate and meaningful way. Click here to donate now.  Any amount will help us reach our goal. Be a part of making a difference. Be a part of Giving Tuesday, and give to those who need our help. Women in Film is starting a sexual harassment Help Line and pro bono legal service to assist those in the entertainment industry whove encountered any mistreatment in the past. The service is expected to be operational as of December 1 and be available every day throughout the year. The legal aid panel will refer both women and men who are in need of designated mental health counselors, law enforcement professionals and civil and criminal lawyers and litigators. The Help Line also will double as a crisis center and information hub. Litigator Bonnie Eskenazi, a partner at Greenberg Glusker, is assembling the panel; each member will volunteer a minimum of 10 hours of pro bono service. Sarah Beckett, “The Dam” — In 1931, a mysterious young woman from the Cook Islands cons her way into the heart and home of an American widow working on the Drumhellor Dam Project: a massive public works project that invites disaster, conflict, and murder. Kristen Joy Bjorge, “Kingdom of Children” — 11-year old Grace Anderson is a genius, yet in some ways, shes very small. Raised in an Evangelical Christian homeschool community, her perspective of the world is frighteningly narrow. Set in the greater Chicago suburbs during the late 1990s and in present-day Washington DC, we follow Grace and her peers as theyre groomed for a modern-day religious and political crusade, a movement responsible for many of the most powerful conservative leaders and politicians of our time. Juanita Cepero, “El Dorado” — In 1700s Cartagena, Colombia, a hunt for the pieces of the map to El Dorado breaks loose. A native nun, a Spanish lord and an African black-market dealer will have to work together in order to survive the brutal game and beat their rivals to the biggest treasure in the world. Natalia Chown, “Good City” — 1951, Chicago. At the height of a dirty newspaper circulation war fuelled by headline-grabbing criminals, a fired reporter uncovers a deeper story of murder, sex, corruption, and the disturbing truth behind his downfall Cat Dale, “Mt. Pleasant” — In 1880s Oklahoma, Native American children are mandated to attend the Mount Pleasant Indian School by the US Government; but when Lolas brother does not return, she risks her life by leaving the reservation to find out what happened to him. Nancy Duff, “Dead Drop: The Spies of Gilbert Hall” — After her father is kidnapped, fourteen-year-old Alexandra Sawyer follows his clues to the safety of Gilbert Hall, a highly guarded safe house for orphaned offspring of the CIAs elite. Thrown into a world of international espionage, Alexandra must come to terms with the truth about her parents while training with her peers as a junior agent. Sarah Eagen, “The Big Sleep” — A bored but brilliant anesthesiologist discovers that ending life is more thrilling than preventing death and fights to give patients what she deems the ‘best possible care. Tasha Henderson, “Crowned” — A beauty queen wannabe has to get in touch with her “Black side” in a quest to win the Miss Black Beauty Pageant, after losing the Miss Southern Texas Pageant to her white nemesis. Kimberlea Kressal, “Everleigh” — Two sisters, masterful in the art of seduction and merciless in their pursuit of power, set out to radically change the worlds oldest profession. While suffragettes are chasing the vote and religious reformers are chasing away sin the Everleigh Sisters build a palace of pleasure and their success ignites a crusade for Americas soul. Samantha Levenshus, “Company Town” — Set in 1894 in the company town of Pullman, the lives of three families intertwine in unexpected ways, confronting issues of racism, sexism, and the rights of government in the months leading up to the bloody railroad strike that defined the American Labor Movement. Sabrina Sherif, “Chosen” — When Syb Jensen is proclaimed the “Chosen One”, she and best friend Georgie are ecstatic to take on demons plaguing their small town; but when the real Chosen One shows up, Syb and Georgie must choose between accepting their normality or choosing to be the heroines of their own story. Christy Stevens McCann, “The Hill of Tara” — In Celtic Ireland, young Maeve is wed to a rebellious king in order to maintain a frail peace, resulting in a deep rift and a struggle for power between husband and wife. Sarah Zucker, “The Sun Set” — Rival “Sewing Circles” of lesbian actresses, the free-spirited Sun Set and the prim A-Lines, clash over sexual jealousies and differences in propriety as they strive for professional advancement in the Golden Age of Hollywood. Congratulations to 2017s Women In Film, Black List Episodic Lab Participants! “THE TROUBLES” by Liz Beall Logline: Claire Sullivan, former IRA operative, now a dedicated wife and mother, becomes reactivated when an old lover crashes her quiet suburban life and pits her against her all-American police detective husband. Bio: Before jumping into television writing at the tender age of 40, Liz Beall first studied anthropology at Oxford, raised a family, wrote snarky parenting essays for magazines, and founded two successful environmental nonprofits (and one unsuccessful artisanal popsicle business. She recently graduated from UCLAs Professional Program in writing for television, and wakes up each morning excited to make up new stories. “BLACKFRIARS” by Danya Jimenez and Hannah McMechan Logline: A comedy mockumentary about a ragtag homeless clique living in Blackfriars underground station. The shoddy group of unemployed millennials seek love, happiness, success… despite various setbacks. Bio: Danya Jimenez and Hannah McMechan are an unlikely pair, a Latina gal from the Republican suburbs of Orange County and a hillbilly girl from a one-pump gas station town outside of Yosemite National Park. The writing duo met as college freshmen and now, as seniors, they enjoy overeating in their shoebox of a room and writing bios in the third person for the sake of looking more professional. “UNLADYLIKE” by Kate McClure and Daniela Schrier Kafshi Logline: A group of spirited women rebel against everything their Cold War society stands for, charming and deceiving their way straight into a hotbed of dirty dealings and double-crossing. Bio: Kate McClure is an actor turned writer and cofounder of Believe Theatrical, an Off-Broadway theater company based in NYC. In addition to several theater and indie film acting credits, Kate has also produced six feature films that were shown at Sundance, TIFF, the Tribeca Film Festival, and many more. Born and bred in Brooklyn, Daniela Schrier Kafshi is a skilled editor, screenwriter, and an accomplished director. Her independent films have screened at festivals across the country and her documentary work has been nominated for the prestigious International Media Excellence Award. “YELLOW” by Zara Meerza Logline: Its 1896, and the bitter rivalry between newspaper magnates Joseph Pulitzer and William Randolph Hearst reaches boiling point. In a rapidly changing New York characterised by crime, struggle and scandal, Yellow Journalism is born. Newspapers will never be the same again. Bio: Zara Meerza is a British Writer and Producer working across Documentary and Drama. She has previously worked with the BBC, Warp Films, Sky Arts, and the BFI and has had her work supported by Cambridge University, Sheffield DocFest, BAFTA, The Producers Guild of America, the National Film and Television School, All3Media, Creative Skillset. more. “THE COURIER” by Maria Sten Logline: 16 years after pollution and nuclear war between humans and aliens known as “The Dark Ones” trigger the planets eco-system failure, a settlement of human survivors attempt to preserve civilization, bunkered down in the tunnels of Hoover Dam. But their world is about to be turned upside down when a mysterious traveler infiltrates their community. The mission: Reset Planet Earth. Bio: Maria Sten is a writer, actress and producer of Danish, Swedish, Congolese ethnicity. She was a finalist for the Black List / ATX Festival Writing Program earlier this year, the ABC Digital Talent Competition in 2016 and debuted her first short “When It Burns” – which she wrote, directed, produced and starred in – at LA Shorts Fest 2016. Marias passion as a storyteller lies with “stories that matter”; facilitating inclusion and female empowerment, and giving voice to the people who dont have one. “ROSE” by Yvonne Hana Yi Logline: Fixer, activist, kingmaker Rose Pak devoted her life to advocating for her community in San Francisco and became the citys top power broker along the way. Set in the 1970s, Rose follows the early years of Paks rise as the “Godmother of Chinatown, ” as she learns to play politics like a blood sport. Bio: Yvonne Hana Yi is a Bay Area native and writer based out of Los Angeles. She is a graduate of NYU Gallatin, currently completing her MFA in Screenwriting at UCLA, and working as a writers assistant on an upcoming Netflix drama. For more information on our Participants, please email, Award-winning director of 3 narrative features & 10 shorts from Toronto, living in LA.  Earned Greencard as artist of extraordinary ability with Canadian and British citizenship.   Blood Hunters  presented in  Cannes  by  Frontieres, released across North America;  Silent Retreat  had theatrical release in Canada & sold to  Chiller TV. FOR IMMEDIATE RELEASE OCTOBER 10, 2017 Women In Film has been speaking with individual press outlets since the story about Harvey Weinstein broke. With the escalation of the story, and the conversation this has opened up nationally and worldwide, we are making this statement. Women In Film encourages women to continue speaking up about sexual harassment, which is an all-too-common form of discrimination. That so many people, particularly other men in power, knew about Harvey Weinsteins behavior and didnt say anything is an indication of how deeply entrenched discrimination is in the film & TV business — and in culture overall. We are hearing more and more shocking accounts from women affected by Harvey Weinsteins behavior; women emboldened to finally speak up because others have before them.  We will likely hear about other men in the entertainment industry who have harassed women, because the problem is far more widespread than people have been willing to discuss publicly. In order to do something to end sexual harassment, we must require Industry leaders to: 1) mandate gender inclusive boards and decision making groups (2) mandate inclusive hiring practices from the top down, from executives to support staff. Ensuring that there are more women in positions of power will change the culture and result in decreased sexual harassment and discrimination overall (3) mandate that lasting legal penalties be applied without compromise, bias or settlement, and these penalties be enforced for those found guilty and complicit in these crimes of discrimination. The bottom line is that no one should be held to different standards; regardless of their power, money or fame. Women need allies. We need our male colleagues – who have mothers, sisters, daughters and friends – to step up and speak out now and whenever they are witness to discrimination of any kind. Information is available on our website about what to do if you are a victim of sexual harassment. Press Contact: Catherine Olim / PMK*BNC. 310-967-724 A screenwriter with a love for TV and an interest in joining a writing room or team. I was a journalist for seven years. I also have experience as a production office assistant. Proficient in Excel, copy editing, script coverage, video editing and marketing. Contact info: On Wednesday, 27 September, Jennifer Mangan and the WIF Mini Upfronts hosted the panel Creating Trailers that Sell Your Project. It was held in the screening room at OWN (Oprah Winfrey Network) in West Hollywood, with over 70 guests attending. The panelists were Michael Fisk: founder of Intermark Consulting and former EVP of International Marketing at Lionsgate and Sony; Kathryn Hollis: SVP at Mobscene Creative; Anacani Munoz: VP of Creative Content at Universal Pictures; and Nat McCormick: EVP of Worldwide Distribution at The Exchange. Jennifer Mangan: Writer/ Producer, moderated the lively interactive panel discussion. The panelists generously gave practical, step-by-step advice on how to create a trailer for your project, whichever stage of development said project is in. They reviewed the pros and cons of shooting footage for a trailer versus doing a mood reel/ripomatic, and including directors and producers statements. People learned the difference between a trailer for consumers (the audience in theaters) versus creating a mood reel/ripomatic for potential sales and investors, and why/when you would want to use each one. They also learned the difference between a One-Sheet and a Poster. Practical tips included: 1.  How long should your trailer be?  It used to be three minutes, but nowadays 90 seconds to 2 minutes is best. 2.  I want to do a ripomatic. What is that, and what should I use?   A ripomatic/mood reel is the version of a trailer used to show sales and investors (as opposed to audiences) to get them interested in investing/selling the film before footage has been shot. As such, it is a mixture of footage from comparable successful films and brief interviews with the producer, director, and/or cast that convey the mood/tone/ style of your film. Using footage from multiple films/sources is fine. Using comparable footage that includes famous actresses/actors is fine. If you have a wellknown director or producer on-board, include interview footage of them describing their vision for the film. If you dont, you may want to include interview footage of yourself discussing your vision and how your film is similar thematically to those you are using. Dont forget to include music—music can play a vital role in conveying the tone of your piece. 3.  What is a “Look Book”? Do I need one?  A “look book” is similar to a mood reel/ ripomatic, but in print form, rather than cinematic form. The purpose of both is to convey the tone and style of your film before you have shot it. A Look Book can show locations, costumes, sets, desired cast/director—anything that conveys the tone and style of your film and makes it easy for sales/investors to see why they want to invest in your film. A Look Book is a great thing to have, both to show potential investors and for yourself as a way to solidify your vision for your project. A Look Book will also be useful later, when marketing your project. Length: 1-10 pages, maximum. 4.  What is a One-Sheet?   A One-sheet is similar to a poster, but again, used for sales and investors, as opposed to the movie-going audience. Also called a “leavebehind, ” One-sheets can include a brief summary of the project, pictures of cast, directors statements—anything that helps sell your project. Jennifer and WIF would like to thank the panelists and Stacey Carr at OWN for their generosity and their time in helping filmmakers create their best possible projects. The Creating Trailers that Sell Your Project panel kicked off the opening of this years WIF Mini Upfronts. Visit   to submit your trailer for a night of screenings and networking with invited Industry guests. Stay tuned for details on our next panel! The Women In Film offices are temporarily closed due to unexpected water damage. We may be slower to respond to inquiries for that reason. Please direct any questions to Do you have a teaser, sizzle, or trailer for a film, pilot, web series, doc that has not yet been in wide release? If you do, then the Mini Upfronts is for you! WIF Mini Upfronts, in its second year, invites Women In Film content creators to submit trailers and reels for their upcoming projects in various stages of development. The selected will screen at our event early next year, and connect with industry professionals through a celebratory night of screening and networking. Submissions open to active WIF Members in good standing. DEADLINE EXTENDED TO 11/12. If you have any questions, please email. Round 1  (Requirements) Teaser, Sizzle, or Trailer for a feature, an episodic television series, documentary, or web series. Any genre accepted. However, submissions cant be any longer than three minutes. All submissions must be via a private link on either Vimeo or YouTube. Synopsis of feature, episodic television series, or web series Stage of development of the project. Three out of five key roles must be female. Those roles include writer, director, producer, director of photography, and talent. Round 2 (Semi-Finalist) Submit polished feature or pilot scripts. For web series, submit the equivalent of a sitcom pilot, roughly 30 pages. Treatments for documentaries. Round 3 (Finalist) The highest rated trailers from round 2 will be programmed for the second annual Mini Upfronts. FAQs Can I submit for more than one project?  Absolutely! You can submit as many projects as youd like, but with the understanding that a maximum of two projects (within different categories—film, tv, webseries, documentary) will be shown at the event. Can I submit more than one trailer for the same project?   Please choose your strongest trailer and submit only one. Can I submit a trailer for my short film? No, submissions are only for full-length projects. What if my short film is a “proof of concept” for a full-length project? Fantastic—submit the trailer, again with the understanding that the full script needs to be polished and complete should you advance to the second round. When must my full script be ready? If you advance to the second round, additional materials will be required by Mid November. How do I know if I advanced to the second round? You will be notified via email with the specifics regarding the required additional materials. Can I submit if I am not a WIF Member? However, join us! Becoming a member is easy—we have a link on the submission form and, hey, here it is again! Memberships start as low as 85 and are a tax write off. Who are the judges? All judges are industry professionals. Can industry professionals submit? Absolutely! As long as they are WIF members. Who is this screening/reception for? It is our goal to connect industry professionals (studio execs, production companies, distributors, financiers) with existing material from female content creators. Can I attend the screening and reception? Absolutely! This event is open to WIF members, people involved in the projects being screened, and industry professionals. TVs golden night was decidedly more colorful than many of the other award shows that have attracted criticism for a lack of diversity. And the love was spread across categories that have not historically featured many winners who are people of color. “Master of None” star Lena Waithe became the first black woman to win an Emmy for comedy writing. She shared the award with series creator and her costar, Aziz Ansari. The pair received a standing ovation when they took to the stage to claim the trophy for the shows critically acclaimed “Thanksgiving” episode, which explored Waithes character Denise coming out as a lesbian. It was a moving moment in a country not far removed from a time when African Americans would yell for others to come watch when they saw themselves reflected on the screen. To have the winner be Waithe — a gay, woman of color — was an even bigger milestone. Waithe thanked her girlfriend and shouted out to her “LGBTQIA family” in her acceptance speech. “The things that make us different, those are our superpowers, ” she said. “Every day you put on your cape, go out there and conquer the world, because the world would not be as beautiful as it is if we werent in it. ” Check out our list of women nominated for Emmys in the writing and directing categories! Be sure to keep these women in mind as you watch this Sunday, September 17. Ava DuVernay 13th • Netflix Outstanding Directing For A Nonfiction Program Alexis Bloom Bright Lights: Starring Carrie Fisher And Debbie Reynolds Lesli Linka Glatter Homeland, EPISODE: America First Outstanding Directing For A Drama Series Lena Waithe Master of None, EPISODE: Thanksgiving Outstanding Writing For A Comedy Series Elizabeth White Planet Earth II • Islands Jamie Babbit Silicon Valley, EPISODE: Intellectual Property Outstanding Directing For A Comedy Series Kate Dennis The Handmaids Tale, EPISODE: The Birdge Reed Morano The Handmaids Tale, EPISODE: Offred Lisa Joy Westworld, EPISODE: The Bicameral Mind Outstanding Writing For A Drama Series “Wonder Woman” has become the biggest blockbuster of the summer with 402 million and counting, beating out the likes of Marvel heavyweights “Guardians of the Galaxy Vol. 2” and “Spider-Man: Homecoming. ” Patty Jenkins superhero origin story won over critics with its empowering themes and performances, and it did the impossible in getting people to finally start believing in the DC Comics extended universe. Read More:‘Wonder Woman: 4 Ways Director Patty Jenkins Broke D. C. s Losing Streak All the success with “Wonder Woman” has made the wait for Jenkins confirmation that shell direct the sequel especially painful. Warner Brothers announced at Comic-Con in July that the Gal Godot-starring sequel will arrive on December 13, 2019, but they didnt reveal whether or not Jenkins would be back. The director has been in negotiations with Warner Brothers over her salary, and it appears they are rightfully signing a huge paycheck to keep Jenkins around. Deadline reports that Jenkins is very close to signing on to direct “Wonder Woman 2” for an undisclosed sum that will make her the highest paid female director in the business. The exact number is not public information yet, but sources say its “in line with any other director who has performed at this level. ” Zack Snyder earned a 10 million check for his DCEU directorial efforts, so its same to assume Jenkins will be in this ballpark. In the wake of the recent announcement of the Executive Branchs intentions to end DACA, we have been talking about immigration here at the Women In Film office. This issue is personal to many of us, as we think of our undocumented loved ones. Hollywood, too, has reacted to this decision. Much of the work we do at Women In Film draws energy from our deeply held belief that representation can open minds and nurture empathy. Films that truly represent their subjects can help viewers to care for those who they might have previously seen as alien. With this in mind, we have put together a list of ten films by women that deal with the many forms the immigrant experience can take. As I researched this letter, I was surprised at how many of these films triggered some kind of shift in my life. Ive included a mix of personal and critical responses to the films below, as well as info on how to watch… James Franco head writer; semi-finalist for Screenwriters Colony (2017) short film premiered at the British Film Institute; worked with Emmy-winning creative teams. MFA in creative writing, MA in investigative journalism. Contact: 740-704-0311 Hostile Work Environment: when unwelcome comments or conduct based on sex unreasonably interferes with your work performance or creates an intimidating, hostile or offensive work environment. You may experience sexual harassment even if the offensive conduct was not aimed directly at you. We most often hear from women experiencing a hostile work environment (think Anita Hill. California Law mandates that every employer have a clear complaint process and mechanism that does not require the employee to go to their regular supervisor. It also mandates that retaliation against women who complain or participate in an investigation is against the law and employers expose themselves to additional liability if they not only ignore harassment, but then retaliate against the victim. The process is as follows: Report the improper conduct to your supervisor or human resources. If your company doesnt have a human resources department, tell someone with authority about the harassment. Even though it is not required, we recommend that you put your complaint in writing and keep a copy.  Additionally, for your own records and to remember as many details as possible, it is recommended that you write down every instance of improper conduct, with date, time, location and witness names (if any. Your company should explain the investigation process, usually found in the employee handbook. If your company doesnt have a clear process, remind them that in CA they are legally required to have one, no matter the size of the company. The investigation (which will be kept as confidential as possible) should result in a decision as to whether the harassment took place, and consequences to the perpetrator. Your employer should communicate the conclusions of the investigation to you. Call an attorney – even if you dont end up hiring one – youll know your rights and have a better understanding of time limits. The CA Bar Association has a referral service and access to free legal services. So does the National Employment Lawyers Association. We often hear from our members that they work for small companies without an HR department and/or no clear process for reporting harassment. We also hear that even when there is a clear process, women dont report harassment because they dont want to be perceived as whiny, not a team player, or a squeaky wheel. They think it will affect their career — and sometimes they are right (once again, retaliation is illegal. If the internal reporting process does not result in satisfaction, then you should consider filing a formal complaint with Department of Fair Employment & Housing (DFEH) and Equal Employment Opportunity Commission (EEOC) because if they get enough complaints about an individual, business or an industry they will launch an investigation. Other approaches: Ask employer to hold a sexual harassment or unconscious bias training – the latter is a great way to get people to think differently about ingrained behavior patterns and take steps to change them. (If your company has 50 or more employees, they are required to conduct sexual harassment prevention training to supervisors every two years. ) Enlist other employees (especially men) to talk to management about trainings – it will be more powerful if the request comes from a group. Also, talk to male allies about changing what men say to each other when women arent around. Look for a new job – this isnt my favorite bit of advice – but some people and workplace cultures are too hard to change and youll ultimately be more successful if you can get out of that environment. Finally, the best way to reduce sexual harassment is for leaders to change the culture of their company. First, mandate that harassment is unacceptable and that perpetrators will be held accountable and second, ensure that employees complaints will be heard and addressed, without retaliation. Palomas scoring has a grand essence of spirit, covering a wide range of emotion from sweet piano pieces, to heart warming orchestral themes, to intense thriller and action. Her ability to create the vision needed for each project coupled with her perfectionism makes for her continual success in the music industry. website: contact: phone: [phone] Last June, I was presented with the Lucy Award at Women In Films annual fundraising gala, the Crystal + Lucy Awards. This event has been honoring women for their achievements in and contributions to film and television for 41 years, and I was thrilled to become a part of this list of talented honorees. During my acceptance speech last year, I mentioned that in this business, women are simply fighting for what we deserve. If I do a job, just as well as a man — people tune in every week, they see me, they root for me just like they root for him — why should my pay be less than his? For more, click here. WONDER WOMAN is an action-packed tale of female empowerment, directed by the unstoppable Patty Jenkins. We cannot thank you all enough for joining forces to help Wonder Woman reach her destiny as a box office warrior. Together, moviegoers DID catapult WONDER WOMAN to an incredible opening weekend – blazing a trail for female superheroes and their stories for years to come. In the weeks leading up to WONDER WOMANS opening weekend, we asked that you commit your organization or team of friends to seeing WONDER WOMAN on June 2 or 3 by signing up below. We also asked you to Tweet or Instagram a photo of your group at opening night using hashtag #WonderWknd. WonderWoman! WONDER WOMAN made over 100 million domestically and over 200 million worldwide on opening weekend. Number one worldwide in its date slot, this was the biggest opening with a female director EVER. We could not have asked for better from all of you. Click here for more. Lisa Callif is a partner at the entertainment law firm, Donaldson + Callif, LLP. She was named as a Hollywood Reporter Power Lawyer in 2016, by the Daily Journal as one of the Top 100 Women Lawyers in 2014 and 2016 and by Variety as one of The Best and The Brightest in 2011. Her primary focus is on representing independent producers in all aspects of creating a project, including development, production and distribution. As part of her practice, Lisa does a significant amount of clearance work for documentaries and narrative projects, including rendering fair use opinion letters, which permits her clients to use limited amounts of unlicensed material in their films under the fair use doctrine. Lisa co-wrote with her law partner Michael Donaldson The American Bar Associations Legal Guide to Independent Filmmaking and Clearance and Copyright, 4 th Edition. Dear White People premieres 4/28. Its creative team includes Women In Film Board Members Nisha Ganatra & Stephanie Allain: “Having a black vibrator does not count as an interracial relationship. ” That sets the tone for the first full trailer for Dear White People, Netflixs anticipated half-hour comedy series based on Justin Simiens acclaimed debut indie feature. RelatedNetflix Seeks French Compromise For Its Cannes Films As Local Industry Takes Sides Set among a diverse group of students of color as they navigate a predominantly white Ivy League college where racial tensions are often swept under the rug, Dear White People is a sendup of “post-racial” America that also weaves a universal story about forging ones own unique path. Brandon P. Bell reprises his role from the film as Troy Fairbanks, a political science student campaigning to become the first black student president. Logan Browning, Antoinette Robertson, DeRon Horton, John Patrick Amedori and Ashley Blaine Featherson also star. SOURCE: Deadline WIF Attorney Lisa Callif is one of The Hollywood Reporters Top 100 Attorneys of 2017. “If youve got a documentary in the works, Callif and partner Michael Donaldson are the ones you call to make sure your subjects dont sue. This years Sundance festival featured nearly two dozen films by her firms clients, including the feature Ingrid Goes West, which she calls a modern-day Single White Female. When Instagram wouldnt give permission to use its logo in the film, Callif didnt bat an eye. “We wrote an opinion letter saying its fine to use these logos, ” she says. “You cant make a movie set in the present day without using social media. ” SOURCE: The Hollywood Reporter Several financing myths were debunked at Monday nights Women, Money and Movies panel, moderated by Women in Film president Cathy Schulman. Contrary to conventional wisdom, lower-budget films arent always easier to make. That lesson was one of the key take-aways from the Women, Money and Movies panel on Monday night at the Pacific Design Center in West Hollywood. “Women like to get it done for less, ” said panelist Jennifer Dana, president of 3311 Productions ( Table 19, Brigsby Bear. “The biggest mistake with smaller movies is not giving yourself enough resources to do it properly. ” Source: The Hollywood Reporter Bela Bajaria, Terry Curtin, Nisha Ganatra and Laura Gordon are joining for the first time. Women in Film has elected four new members to its Board of Directors, The Hollywood Reporter has learned. In addition, TriStar Pictures president Hannah Minghella and UTA partner and Independent Film Group head Rena Ronson have rejoined the board of the non-profit organization. The new board members are: Bela Bajaria, who became Netflixs vp content in November after spending five years as president of Universal Television; Terry Curtin, who became DreamWorks Animations global head of theatrical publicity last March. She previously ran strategic marketing and global communications at STX Entertainment; Nisha Ganatra, whose directing credits include Brooklyn Nine-Nine, Better Things (where she also was a co-executive producer) Mr. Robot and Transparent, the latter for which she shared Emmy and PGA nominations as part of the producing team; and Laura W. Gordon, whose Encino-based business management firm Gordon & Associates represents high net worth clients including award-winning entertainers, athletes and executives. Zoe Lister-Jones feature directorial comedy  Band Aid  will be opening on June 2. IFC took North American rights to this Sundance Film Festival comedy about a feuding couple who start a band to reconcile their marriage per the suggestion of their therapist. Lister-Jones stars as Anna and Adam Pally plays her husband Ben. Fred Armisen also co-stars as their neighbor who joins the band as a drummer. Band Aid  was also produced by Lister-Jones, under her production company Mister Lister Films, with Natalia Anderson and EP Daryl Wein (Mister Lister Films. The film was financed by QC Entertainment with QCs Ted Hamm, Sean McKittrick, Ray Mansfield, and Shaun Redick serving as EPs. QC recently celebrated their production Get Out  crossing 100M. Check out our interview above with Lister-Jones and Pally.  The production had a huge female crew, and here Pally speaks about that. Interest in screenwriting, producing. Work experience with E! Entertainment. Skilled in administrative tasks. Picture Editor, reality & scripted.  My resume can be viewed at  profile/neroes? ne=1   Im pretty laid back, even tempered and can get along with just about anyone.   My contact info: email –, cell – 310. 498. 1055 In this documentary, Emna and Jawhara, two politically opposed women, are both fighting to shape their lives and the political future of Tunisia. During Tunisias post-revolution years, journalist Emna imagines a country governed by free speech and without the corruption of the former regime, whereas Jawhara envisions a Tunisia guided by Islamic principles. Still, both must navigate the treatment of women in Tunisia, balancing their political roles in public with marriage and motherhood at home. Directed by Jessie Deeter. (2016, 90 min. No MPAA rating. In English, French, and Arabic with English subtitles. ) A Q&A with director Jessie Deeter follows the screening. Tickets: 10 General, 8 Skirball Members, 6 Full-Time Students Parking: FREE When was the last time that every major film studio, every broadcast network, leading cable networks and streaming services all agreed on something? Maybe … never? Well, we can report that theyve all agreed to meet with a group called ReFrame — an initiative designed to get more women hired in Hollywood, both behind the camera and on screen. (The complete list of participating studios and companies is below. ) ReFrame comes after years of research documenting how the entertainment industry continues to be dominated by men, most of them white. Even though women attend film schools in equal numbers with men, they dont get the same opportunities as their male counterparts once they graduate. SOURCE: SCPR For live updates, follow us on Instagram and Twitter! Venezuelan filmmaker Margot Benacerraf's documentary ARAYA shared the Cannes International Critics Prize in 1959. More recently, Roger Ebert gave the film the following review: This astonishing documentary, so beautiful, so horrifying, was filmed in the late 1950s, when an old way of life had not yet ended. It was the belief of the filmmaker, Margot Benacerraf, that the motions of the salt workers became ritualized over the decades, passed down through the generations, and that here we could see the outcome of the endless repeating of arduous tasks that would destroy others. WomensHistoryMonth #52FilmsByWomen #Venezuela #Araya #fifties #rogerebert #margobenacerraf #saltmines #whm #documentary #classicfilm #venezuelanfilm #MesDeLaHistoriaDeLaMujer #womeninfilm #womendirect #trailblazer A post shared by Women In Film Los Angeles ( womeninfilmla) on Mar 22, 2017 at 2:40pm PDT "Jessie Maple is considered to be the first African American woman to direct an independent feature-length film, after working/training at Channel 13 and Third World Cinema, apprenticing as an editor on films like Shafts Big Score (1972) as well as handling camerawork and editing for New Yorks ABC, CBS and NBC affiliate TV stations. WILL, shot on location in 1980s Harlem, focuses on Will (played by Obaka Adedunyo) a girls basketball coach fighting through a heroin addiction, while mentoring a 12-year-old street kid, adopted by Will and his wife (played by Loretta Devine. WILL, shot on 16mm with a 12, 000 budget, centers on Will, a down and out man who is trying to recover from a drug addiction. —@indiewire #52FilmsByWomen #WomensHistoryMonth #WHM #WomenInFilm #WomenDirect #blackhistory #jessiemaple #cinematography #film #blackandwhite #lowbudget #harlem #eighties A post shared by Women In Film Los Angeles ( womeninfilmla) on Mar 6, 2017 at 3:26pm PST Kayden Phoenix  is a Chicana Director hailing from Boyle Heights, California. As an avid advocate of diversity, she plans on equaling the playing field with all the under-represented. Presented along with partners Perrier-Jouët, Mac Cosmetics, BMW, and MaxMara, the ninth Annual Women in Film Pre-Oscar Cocktail Party was held on Friday, February 26, 2016 at Hyde Sunset Kitchen + Cocktails. Hosted by Women In Film President and Academy Award winner Cathy Schulman, the event celebrated the 51 talented women nominated for the 2016 Academy Awards. Attendees sipped Perrier-Jouët champagne and nibbled on delicious hors doeuvres as toasts were raised in anticipation of the big night. Cathy Schulman with 2016 Oscar Nominees. Left to right: Courtney Marsh, Imogen Sutton, Dee Hibbert-Jones, Finola Dwyer, Sandy Powell, Cathy Schulman, Diane Warren, Phyllis Nagy, Serena Armitage, Meg LeFauve, Emma Donoghue, Nomi Talisman Year Round Corporate Partners Event Sponsors Enough talk! Studio and agency insiders, producers, directors and industry leaders reveal ReFrame, a focused and results-oriented push to break entertainments gender-parity logjam: “This is bigger than the bullshit. ” Lack of parity for women — behind the camera, in the front office, on the payroll — long has been one of Hollywoods most intractable obstacles. Year after year, new studies reveal the same dreary landscape, with statistics vastly outnumbering solutions and attempts to address the issue scattershot at best. Shortly after becoming president of the non-profit Women in Film in 2011, producer Cathy Schulman was struck anew by this stagnation. “I was standing up in front of a group of people doing yet another speech about the lack of parity in Hollywood, and I felt, ‘How could I possibly be running an organization like Women in Film and repeating statistics that have essentially been flatlined since 1998? “ She reached out to her good friend Keri Putnam, executive director of the Sundance Institute, and their organizations launched the Female Filmmakers Initiative. What began as a research project now has transformed into a movement among a supergroup of Hollywood insiders who are poised to lead concrete, lasting change. Women In Film Members can write to to receive their discount. (OJAI, CA – February 14, 2017) Imagine its the 1950s and youre going to the movies, what film would you see? Probably one of the 15 movies made by screen legend Piper Laurie, star of film, stage, and a television diva who was nominated for two Academy Awards and won a Golden Globe and an Emmy. Laurie, with over 100 credits to her name, will be appearing at the first Ojai Film Festival Special Series in conjunction with Women in Film, for An Evening with Piper Laurie, on Saturday, March 11 from 5:30 – 9:45 p. m. at the Ojai Art Center theater. The evening will feature Women In Films half-hour Piper Laurie Legacy documentary, which focuses on her legendary career and her place in Hollywood history. A Q&A with the vibrant 85-year-old follows, and then a reception and screening of The Hustler (1961) for which she received four award nominations (Academy, BAFTA, Golden Laurel, and NY Film Critics Circle awards) for her role as Sarah Packard, pool hustler Paul Newmans girlfriend. Source: Ojai Film Festival “In addition to being a fantastic party, the Spirit Awards ceremony brings together top talent from Hollywood and throughout the independent film world. Awards are given for Best Feature, Best First Feature, Best Feature Made for Under 500, 000 (the John Cassavetes Award) and many more. ” Source: Film Independent We are excited to present this list of women nominated for the 2017 Spirit Awards in behind-the-camera categories. You can find out more about how to watch these films here. Scroll and enjoy! Free In Deed Ava Berkofsky, nominated for Best Cinematography American Honey Alice Weinberg (Producer) nominated for Best Feature Chronic Gina Kwon  (Producer) nominated for Best Feature Manchester by the Sea Lauren Beck  (Producer)  and Kimberly Steward (Producer) nominated for Best Feature Moonlight Dede Gardner  (Producer)  and Adele Romansch  (Producer) nominated for Best Feature The Childhood of a Leader Helena Danielson  (Producer) and Mona Fastvold (Writer) nominated for Best First Feature The Fits Anna Rose Holmer (Director and Writer) and Lisa Kjerulff (Producer and Writer) nominated for Best First Feature Other People Naomi Scott (Producer) nominated for Best First Feature Swiss Army Man Miranda Bailey  (Producer) Lauren Mann (Producer) and Amanda Marshall  (Producer) nominated for Best First Feature The Witch Jodi Redmond  (Producer) nominated for Best First Feature Certain Women Kelly Reichardt, nominated for Best Director Jean of the Joneses Stella Meghie, nominated for Best First Screenplay Hunter Gatherer April Lamb (Producer)  and Sara Murphy  (Producer) nominated for John Cassavetes Award Lovesong So Yong Kim (Director and Writer) nominated for John Cassavetes Award Nakom TW Pittman  (Director, Producer and Writer)  and Kelly Daniela Norris (Producer and Writer) nominated for John Cassavetes Award Spa Night Giulia Caruso (Producer)  and Kelly Thomas  (Producer) nominated for John Cassavetes Award Jennifer Lame, nominated for Best Editing Joi McMillon, nominated for Best Editing Chevalier Athina Tsangari (Director, Producer and Music Supervisor) nominated for Best International Film Toni Erdmann Marin Ade (Director, Producer and Writer) nominated for Best International Film 13th Ava DuVernay (Director, Producer and Writer) nominated for Best Documentary Cameraperson Kirsten Johnson (Director, Producer, Cinematographer and Actor) and Marilyn Ness (Producer) nominated for Best Documentary O. Made in America Deirdre Fenton (Producer) Libby Geist (Producer) Nina Krstic (Producer) Erin Leyden (Producer) Tamara Rosenberg (Producer) Caroline Waterlow  (Producer) nominated for Best Documentary Sonita Rokhsareh Ghaem Maghami  (Director and Co-Producer) nominated for Best Documentary Under the Sun Natalya Manskaya  (Producer) nominated for Best Documentary Scroll down for our complete list of women nominated for 2017 Academy Awards in behind-the-camera categories. LA LA LAND Ai-Ling Lee & Mildred Iatrou Morgan,   nominated for Sound Mixing and Sound Editing Mary Zophres, nominated for Costume Design Sandy Reynolds-Wasco, nominated for Production Design – Set Decoration “Aspiring actress Mia and jazz pianist Sebastian struggle to realize their dreams in Los Angeles despite the often soul-crushing commercial nature of show business. As they endure rejection and forge unexpected paths to stardom, the young couple also strives to sustain the love they were surprised to find. ” Including her nomination this year for Sound Mixing for LA LA LAND, this is the second Academy Award nomination for Ai-Ling Lee (Sound Editing. This is the second Academy Award nomination for Mary Zophres. She was previously nominated for: TRUE GRIT (2010) – Nominee, Costume Design This is the first Academy Award nomination for Sandy Reynolds-Wasco. HIDDEN FIGURES Allison Schroeder, nominated for Best Adapted Screenplay “In the early 1960s, as the U. seeks to surpass the Soviet Union in the space race, three mathematically and technologically gifted African-American women must cope with racism and sexism while performing vital tasks at NASAs segregated Virginia facilities. ” This is the first Academy Award nomination for Allison Schroeder. JACKIE Mica Levi, nominated for Best Original Score Madeline Fontaine, nominated for Best Costume “After her husband is assassinated in Dallas in 1963, Jacqueline Kennedy strives to maintain a public show of strength while grieving in private and caring for their two young children. As she searches for the best way to ensure both her husbands and her own legacies, Jackie navigates the treacherous waters of politics. ” This is the first Academy Award nomination for Mica Levi. This is the first Academy Award nomination for Madeline Fontaine. MOONLIGHT Joi McMillon, nominated for Film Editing “As he grows from childhood to adulthood in Miami, a young black man grapples with surviving the poverty and drugs that pervade his neighborhood, establishing his own identity and accepting his sexuality. Under the influences of his drug-addicted mother, a kindly surrogate father and a conflicted best friend, the youth finds his way in life. ” This is the first Academy Award nomination for Joi McMillon. TONI ERDMANN Maren Ade, nominated for Best Foreign Language Film “Retired piano teacher Winfried Conradi attempts to reconnect with his estranged adult daughter Ines, a driven businesswoman currently based in Romania. Ines, herself grappling with weighty emotional issues, is not pleased with her prankster fathers overtures and engages in a battle of wits with him. ” This is the tenth Academy Award nomination for Germany and first Academy Award nomination for Maren Ade. ALLIED Joanna Johnston, nominated for Best Costume “Canadian Max Vatan works as a British spy during World War II and falls in love with French operative Marianne Beauséjour while on a mission. The pair marries and has a child, but soon after, Maxs superiors order him to investigate their suspicion that Marianne is a double agent. ” This is the second Academy Award nomination for Joanna Johnston. She was previously nominated for: LINCOLN (2012) – Nominee, Costume Design FLORENCE FOSTER JENKINS Consolata Boyle, nominated for Best Costume “Heiress Florence Foster Jenkins has been a champion of music her entire life, although her enthusiastic singing is dreadful. When she decides to give a concert at Carnegie Hall in 1944, her devoted husband and a befuddled pianist work tirelessly to ensure that the event is a success. ” This is the second Academy Award nomination for Consolata Boyle. She was previously nominated for: THE QUEEN (2006) – Nominee, Costume Design FANTASTIC BEASTS AND WHERE TO FIND THEM Colleen Atwood, nominated for Best Costume “In 1926, British wizard Newt Scamander arrives in New York City with his collection of unusual magical beasts. Because of the tumultuous relationship between magical and non-magical people in America, Newt finds himself embroiled in a war between factions seeking either to destroy magic or make it the law of the land. ” This is the twelfth Academy Award nomination for Colleen Atwood. She was previously nominated for: INTO THE WOODS (2014) – Nominee, Costume Design SNOW WHITE AND THE HUNTSMAN (2012) – Nominee, Costume Design ALICE IN WONDERLAND (2010) – Winner, Costume Design NINE (2009) – Nominee, Costume Design SWEENEY TODD THE DEMON BARBER OF FLEET STREET (2007) – Nominee, Costume Design MEMOIRS OF A GEISHA (2005) – Winner, Costume Design LEMONY SNICKETS A SERIES OF UNFORTUNATE EVENTS (2004) – Nominee, Costume Design CHICAGO (2002) – Winner, Costume Design SLEEPY HOLLOW (1999) – Nominee, Costume Design BELOVED (1998) – Nominee, Costume Design LITTLE WOMEN (1994) – Nominee, Costume Design” FIRE AT SEA Donatella Palermo, nominated for Best Documentary Feature “When hundreds of thousands of African and Middle Eastern refugees flee their homes, their first stop in Europe is often the Sicilian island of Lampedusa. While the local doctor struggles to provide the new arrivals with healthcare, other residents, such as 12-year-old Samuele and his friends, go about their everyday lives with almost no interaction with the immigrants. ” This is the first Academy Award nomination for Donatella Palermo. LIFE, ANIMATED Julie Goldman, nominated for Best Documentary Feature “Shortly after he turned three, Owen Suskind, the son of journalist Ron Suskind and his wife Cornelia, stopped speaking. Owen was diagnosed with autism, but as the years passed, his family discovered that he had memorized the dialogue of every Disney animated film. As he has grown to adulthood, Owen has gained vital life skills through his connection to animated movies. ” This is the first Academy Award nomination for Julie Goldman. O. MADE IN AMERICA Caroline Waterlow, nominated for Best Documentary Feature “The turbulent relations between the races in Los Angeles throughout the 20th century had a huge impact on the life of football star O. Simpson. After his NFL career, Simpson became an actor, but it was his trial for the murders of his wife, Nicole Brown Simpson, and her friend, Ron Goldman, that revealed his complex standing in the black and white communities. ” This is the first Academy Award nomination for Caroline Waterlow. 13TH Ava DuVernay, nominated for Best Documentary Feature “African Americans have continued to suffer since the passing of the 13th Amendment, with popular media demonizing people of color, Jim Crow laws prohibiting real growth and black leaders being assassinated in the 1960s. The politically motivated “”war on drugs”” penalizes more people of color than whites, and the mass incarceration of blacks in the U. has led to a booming prison industry. ” This is the first Academy Award nomination for Ava DuVernay. 4. 1 MILES Daphne Matziaraki, nominated for Best Documentary Short Subject “Kyriakos Papadopoulos, a captain in the Greek Coast Guard, is caught in the struggle of refugees fleeing the Middle East and traveling the short distance from the coast of Turkey to the island of Lesbos. Despite having limited resources, the captain and his crew attempt to save lives during the immense humanitarian crisis. ” This is the first Academy Award nomination for Daphne Matziaraki. JOES VIOLIN Kahane Cooperman and Raphaela Neihausen, nominated for Best Documentary Short Subject “During a drive to donate musical instruments to public schools, 91-year-old Holocaust survivor Joseph Feingold offers his beloved violin, which he has played for more than 70 years. The instrument goes to the Bronx Global Learning Institute for Girls, where young musician Brianna Perez is inspired to become friends with her benefactor. ” These are the first Academy Award nominations for Raphaela Neihausen and Kahane Cooperman. THE WHITE HELMETS Joanna Natasegara, nominated for Best Documentary Short Subject “In the chaos of war-torn Syria, unarmed and neutral civilian volunteers known as “”the white helmets”” comb through the rubble after bombings to rescue survivors. Although they have already saved more than 60, 000 lives since 2013, these brave first responders continue to place themselves in danger every day. ” This is the second Academy Award nomination for Joanna Natasegara. She was previously nominated for: VIRUNGA (2014) – Nominee, Documentary (Feature) SING Anna Udvardy, nominated for Best Live Action Short “Young Zsofi is having a hard time fitting in at her new school, and her distress grows when the choir director treats her cruelly despite her love of singing. Along with her friend Liza, Zsofi investigates the revered teacher in an attempt to reveal her true nature. ” This is the first Academy Award nomination for Anna Udvardy. PEAR CIDER AND CIGARETTES Cara Speller, nominated for Best Animated Short “Hard-living Techno Stypes has been Roberts best friend since childhood, and over the years, Robert has been amazed by Technos ability to sabotage himself. When Techno is hospitalized in China and needs a liver transplant, Robert goes on a wild ride to get him home to Vancouver. ” Latido Films will handle international sales to “ Chavela, ” a documentary on this hugely influential Mexico-raised singer from directors Catherine Gund and Daresha Kyi. Featuring key figures in her life, such as Pedro Almodovar, “Chavela” world premieres at the Berlin Festival on Feb. 9 where Latido will introduce it to buyers. Vargas friendship, maybe passionate affair, with Frida Kahlo and her epic drinking binges are the stuff of legend. She was also a muse for many. Produced out of New York-based Aubin Pictures, founded by Gund, “Chavela” is inspired by footage shot by Gund when living in Mexico City in the winter of 1992 when she managed to meet Vargas and and videotaped their conversation. SOURCE: Variety In 2017, you can celebrate Galentines Day with #52FilmsByWomen! Check out these fourteen great titles that depict the complexity, beauty, and in many cases the comedy inside friendships among women. All of these films are written or directed by women, so theyre a great opportunity to add to your list of 52! Thelma & Louise 1991 Directed by Ridley Scott Written by Callie Khouri An Arkansas waitress and a housewife shoot a rapist and take off in a 66 Thunderbird. A League of Their Own 1992 Directed by Penny Marshall Written by Kim Wilson, Kelly Candaele, Lowell Ganz & Babaloo Mandel Two sisters join the first female professional baseball league and struggle to help it succeed amidst their own growing rivalry. Now And Then 1995 Directed by Lesli Linka Glatter Written by I. Marlene King Four 12-year-old girls grow up together during an eventful small-town summer in 1970. Clueless Directed by Amy Heckerling Written by Amy Heckerling A rich high school student tries to boost a new pupils popularity, but reckons without affairs of the heart getting in the way. Walking and Talking 1996 Directed by Nicole Holofcener Written by Nicole Holofcener Things have been tough lately for Amelia. Her best friend moved out of the apartment, her cat got cancer, and now her best friend, Laura, is getting married. She copes with things, from the help of Andrew, Frank, Laura, and a brief romance with Bill “The Ugly Guy” Fire Directed by Deepa Mehta Written by Deepa Mehta Sita and Radha are two women stuck in loveless marriages. While Sita is trapped in an arranged relationship with her cruel and unfaithful husband, Jatin, Radha is married to his brother, Ashok, a religious zealot who believes in suppressing desire. As the two women recognize their similar situations, they grow closer, and their relationship becomes far more involved than either of them could have anticipated. Drylongso 1998 Directed by Cauleen Smith Written by Salim Akil & Cauleen Smith A young woman (Toby Smith) in a photography class begins taking pictures of black men out of fear they will soon be extinct. But Im A Cheerleader… 1999 Directed by Jamie Babbit Written by Jamie Babbit & Brian Wayne Peterson A naive teenager is sent to rehab camp when her straitlaced parents and friends suspect her of being a lesbian. Bend it Like Beckham 2002 Directed by Gurinder Chadha Written by Gurinder Chadha, Guljit Bindra & Paul Mayeda Berges The daughter of orthodox Sikh rebels against her parents traditionalism and joins a football team. Real Women Have Curves Directed by Patricia Cardoso Written by Josefina Lopez & George LaVoo Ana is a bright and ambitious 18-year-old Latina who has just graduated from high school in East Los Angeles. Ana wants to broaden her horizons and go on to college, but her mother Carmen has other ideas. Your Sisters Sister 2011 Directed by Lynn Shelton Written by Lynn Shelton Iris invites her friend Jack to stay at her familys island getaway after the death of his brother. At their remote cabin, Jacks drunken encounter with Hannah, Iris sister, kicks off a revealing stretch of days. The Bling Ring 2013 Directed by Sofia Coppola Written by Sofia Coppola & Nancy Jo Sales Inspired by actual events, a group of fame-obsessed teenagers use the internet to track celebrities whereabouts in order to rob their homes. Girlhood 2014 Directed by Céline Sciamma Written by Céline Sciamma A girl with few real prospects joins a gang, reinventing herself and gaining a sense of self confidence in the process. However, she soon finds that this new life does not necessarily make her any happier. 2015 Directed by Anna Rose Holmer Written by Saela Davis, Anna Rose Holmer & Lisa Kjerulff While training at the gym 11-year-old tomboy Toni becomes entranced with a dance troupe. As she struggles to fit in she finds herself caught up in danger as the group begins to suffer from fainting spells and other violent fits. EXCLUSIVE: Cathy Schulman, former head of production at STX Entertainment, just launched a new production and finance company called Welle Entertainment. In addition, she has entered into a co-venture with Primary Wave Entertainment and is starting up with several diverse film and television projects already on the slate. The first Welle film will be a comedy that will go through Mandalay Pictures (where Schulman was once a top exec) to be directed by Cindy Chupack (Sex In The City. The untitled film focuses on “one of the hardest and funniest stages in mothering: the dreaded empty nest. ” It is slated to go before the cameras this summer. Source: Deadline 80 Percent of Female Directors Made Only One Movie in 10 Years. The latest USC research also reports that just 8. 1 percent of Hollywoods helmers over the past decade were black or Asian. Adding age to its latest study on Hollywood representation, USC Annenbergs Media, Diversity & Social Change Initiative has uncovered sobering evidence that the lifespan of a female directors career is a lot shorter than that of her male counterparts. Analyzing the gender, race and age of the directors of the 1, 000 top-grossing films from the past 10 years, the researchers found that 80 percent of the female helmers were “one and done” — that is, they made just one movie from 2007 to 2016. This percentage rose to 83. 3 percent for women of color. By contrast, 54. 8 percent of the men directed just one film during that span (with Asian and black male directors faring slightly worse, at 60 and 62. 5 percent, respectively. “If youre trying to feed a family or make your way in Hollywood, having one opportunity a decade is simply not going to get the job done, ” Dr. Katherine Pieper, who co-authored the study with Dr. Stacy L. Smith and Marc Choueiti, tells The Hollywood Reporter. Although the average age of male and female directors was similar (46. 2 and 47. 4 years, respectively) the age range for each gender differed. All of the women who worked in the past 10 years were in their 30s to 60s, while eight 20-something men and six octogenarians released at least one movie during that span, including Clint Eastwood, whose eight titles make him the second-most prolific director of the past decade. Tyler Perry is first, with 14, while the highest-ranking woman, The Proposal ‘s Anne Fletcher, shares 24th place with 31 male directors, with four films each. The annual Barnard College showcase of female leadership has also partnered with the Motion Picture Academy for the U. premiere of ‘The Women Who Run Hollywood followed by a panel discussion on pioneering female filmmakers. The Athena Film Festival has revealed the lineup for its 2017 edition. The films that will screen at the annual Barnard College event in New York, designed to celebrate female leadership, include HBOs Carrie Fisher-Debbie Reynolds documentary Bright Lights and the fall theatrical release Queen of Katwe. Additionally, the festival will screen clips from the upcoming Hulu series The Handmaids Tale. The first annual Women In Film Members Create Mini Upfronts was held on Friday, January 13th, at the William Morris Endeavor screening room in Beverly Hills.  We had over 90 attendees, including executives from Lionsgate, NBCUniversal, Fox, CBS, OWN, STX, WME, CAA, UTA, and Gersh. The event was Executive Produced by Women In Film members Lagueria Davis and Jennifer Mangan. At the event, 23 WiF members screened their trailers, with a networking reception immediately following.  Projects were either feature films, television pilots, digital, or documentaries. Several executives have had very positive reactions to the projects. Adrian Ward of Pacific Mercantile Bank called the trailers “quality of the highest standard. ”  He has invited each of the filmmakers to speak with him about funding and sales opportunities to be found through PMB.  We will keep you updated on this and other opportunities as projects move forward. The Mini Upfronts began when Lagueria pitched the idea at the WIF Members Create meeting, and Jennifer immediately jumped on board.  A new event was born! Over the next six months, they worked together to create selection criteria, opened up submissions to WIF members–they received over 100 within the month! –secured 15 industry judges from both studio and independent companies, including people within development, acquisitions, casting, marketing, finance, and international operations.  There were two rounds of judging, leading up to the semi-finals and then the finals.  The top 23 trailers were screened at the Mini Upfronts.  Communication with everyone was key throughout the entire process. While the judging took place, Jennifer and Lagueria got to work securing sponsors and creating the event program.  Our sponsors included Final Draft, Don Francisco Coffee, Macadamia Hair Products, Trojan, Luna Bars, True Talent Management, and Chapman University Entertainment Legal Services. While working on these avenues, they partnered with Larry Laboe of New Filmmakers Los Angeles, who helped secure the event space and food/beverage sponsors for the reception. Women In Film President Cathy Schulman said of the event, “Nothing makes me happier than watching members of Women In Film utilize our community and support to create extraordinary work. Jennifer and Lagueria conceived of and executed the mini upfronts, and the program will now become a permanent part of Women In Films commitment to supporting diverse women in media. ” Jennifer and Lagueria look forward to working with Cathy and other WIF members to make the Mini Upfronts an annual event. “Women are going into schools in filmmaking, and graduate schools, but coming out early. So somethings happening in those walls — and then all the way through. On the other side of the triangle, we have this enormous cultural bias issue going on with decision makers and content creators, and frankly, it doesnt even really meet in the triangle because this side is so big that it would actually not hang together as a triangle. At the bottom, and most important to Hollywood, is the business scenario, which operates on a number of different levels. There is a whole issue of the cultural belief that women in charge dont make money, and that content for women and girls doesnt make money. ” —WIF Board President Cathy Schulman Source: LA Review of Books WIN AN ORIGINAL SCORE TO BE PERFORMED LIVE: WIF MEMBERS ONLY CALL FOR ENTRY: Los Angeles Live Score Film Festiva l The Women In Film International Committee is proud to serve as festival partner and nominating judge for the Los Angeles Live Score Film Festival (LALSFF. The Festival features short films with original scores performed live-to-picture, highlighting the collaborative role between composer and filmmaker.  The WIF International Committee will be selecting (4) short films submitted from the WIF Membership to participate in the Festival. The winning films will be paired with an assigned film composer to create an original score. The films will be screened with the score performed live by the renowned Helix Collective in Los Angeles, May 2017 at the LASFF.  The screening will include an interview with the filmmakers and composers and a Meet-and-Greet. The shorts awarded for Best Picture and Best Musical Score are given free studio time to have their music recorded, edited, and set to picture for release. The (4) winning WIF shorts after the Festival can request for shared cost of studio rental and discounted musician fees. Deadline for Short Film Submission is 11:59 PM on Friday, February 10 th. Submissions accepted only by filmmakers with WIF/LA membership Film Submission Requirement Short films up to approximately 6 minutes (Any genre welcome)   Language: English or English Subtitles Upload short film to a video sharing site (example Vimeo) with access to the film Subject: WIFI Shorts Submission LALSFF In the email, provide the WIF Member ID, name/contact information and website link/password information to access the film NEW INFO: Will also accept Work In Progress Rough Cuts and Finished films with only a library score you would like to replace with an original score 2017 Festival Timeline Jan 25, 2017 WIF Members Call of Entry open Feb 10, 2017 FINAL SUBMISSIONS DEADLINE CLOSED Feb 15, 2017 Selected WIF filmmakers notified via email Feb 19, 2017 Filmmakers deadline deliver Quicktime video to composer Mar 20, 2017 Scores due May 2017 Festival performance Detailed Specs: Winning Filmmakers deliver to Composers once notified HD quality Quicktime video, h. 264 codec to keep the file size relatively small. 10 seconds of black screen leader before picture start, and 5 seconds of black at end No music in video High quality audio dialog and SFX (make sure sound is balanced, no obvious distortion or low bitrate compression. Use 23. 976 frames per second No need for timecode burn-in, since well be handling the sync on our end. Feedback on Submissions The Festival Host and Women In Film International Committee are under no obligation to provide to the applying filmmaker or any representative of the Film or Score any comments or feedbacks regarding the submitted film entry or the decision process, beyond the information listed. The Festival Host and Women In Film International Committee disavow any responsibility or feedback regarding any Scores. All decisions of the committee are final Collaboration The Director and Composer must collaborate on the spotting, style, and dramatic intent of the music. The goal is to tell the story in the best possible way. Communication in person and/or via the net is strongly encouraged Festival Attendance Filmmakers or a representative of the film and the Composer must live in the greater Los Angeles, CA area, or be able to travel to Los Angeles to be present at one of the screenings Screening and Live Performance The screening will take place in Los Angeles in the Spring of 2017. Each film will be screened with a live underscore composed by the selected Composer, performed by The Helix Collective. No pre-recorded score or supplemental pre-recorded instruments, whether electronic, sampled, or recorded human performance will be allowed. Ownership and Rights Filmmaker and Composer retain all rights to their original work. However, winners must grant a non-exclusive perpetual license to the Festival Host to display, perform, and promote all or a portion of their work created for the Festival. The Festival has the right to use any content from the screening and/or resulting recording sessions in promotions for future Los Angeles Live Score Film Festival events and support. Composers have the right to use their score paired with the short film in their respective reels and promotion of their film scoring accomplishments as long as the filmmaker and music ensemble are credited. Filmmakers have the right to use the new score with the short film for which it was written as long as the composer and ensemble is credited. Prizes Prizes will be awarded at the Festival for Best Picture and Best Musical Score.  The shorts awarded for Best Picture and Best Musical Score are given free studio time to have their music recorded, edited, and set to picture for release Recording of Scores Helix Collective will be available to record the scores at the request of composers and filmmakers after the festival for the shared cost of studio rental and discounted musician fees. The Los Angeles Live Score Film Festival features short films with original scores performed live-to-picture. The 2017 festival is presented in collaboration with Helix Collective, the Academy of Scoring Arts, Women In Film International Committee and the New York Film Academy Los Angeles-based Helix Collective performs a high-energy, out-of-the-box mix of world, classical and rock n roll. At performances you will find yourself dancing, singing, banging on tables and always having a fantastic time. The ensemble is at home in nightclubs and on the concert stage from a residency at Los Angeless venerable Silverlake Lounge to performances for the West Michigan and Pacific Symphonies. Helix “has a little for everyone: those who like their classics straight up, with a contemporary edge to it, or with populist appeal” (Audiophile Audition Magazine. Called “dizzyingly virtuosic [with] exquisite musicianship and world-class range” by The Free Times and praised for their “beyond-the-ordinary programming, ” the flexible ensemble includes flute/piccolo/alto flute, oboe/English horn, cello, piano and percussion. The group has released two critically acclaimed albums. All In was released in 2009 by World Dance Club in 2013 We are excited to share our new LinkedIn Group with you. This group will be a great networking tool, and a way for members to find each other. It will also be a great way for producer to find crew members, and for crew to list their skills. In order to join the group, you must be an active member in good standing of Women In Film. To learn more about joining, click here. How to Join WIFs LinkedIn Group Linked In Group, Women In Film Los Angeles from Women In Film on Vimeo. The latest data is in for women employed on the 250 top-grossing films of 2016, and the numbers are abysmal – lower, in many cases, than in 1998 – according to San Diego States Center for the Study of Women in Film. In her 19th annual “ Celluloid Ceiling ” report, Dr. Martha Lauzen found that women comprised only 17% of all directors, writers, producers, executive producers, editors, and cinematographers working on the top 250 domestic grossing films last year. “This represents a decline of two percentage points from last year, ” she wrote, “and is even with the percentage achieved in 1998” – when she issued her first report. Women directors, whose underemployment is currently being investigated by the federal governments Equal Employment Opportunity Commission, fared particularly poorly. “Women accounted for 7% of directors, down from 9% in 2015 and 1998, ” according to the report. Women In Film is excited to announce the selections for our fabulous night of short films! Come see seven carefully curated shorts made by our own members. The theme for this years event is SECRETS & DISCOVERIES. The films are: COME AWAY WITH ME (Ellen Gerstein) CRUSH (Rosie Westhoff) EVERYBODY DOES IT (Megan Brotherton) NODAL (Linda Dahlem) TATTOO YOU (Lisa Kenner Grissom) THE GIRLS I KNOW… GET THEIR HANDS DIRTY (Lauren Ciaravalli & Victoria Vaughn) WASTE (Justine Raczkiewicz) To be followed by a brief Q&A + reception 10 GA, Free to Members Tuesday, January 31, 2017 Doors open at 7pm, program starts promptly at 7:30pm West Hollywood Library, City Council Chambers 625 N. San Vicente Blvd, West Hollywood, CA 90069 CLICK HERE FOR TICKETS! Members, remember to login for your free ticket) Click a title to read the selected scene. RESERVOIR DOGS Parts: Nice Guy Eddie, Mr. White, Mr. Pink, Mr. Blonde, Mr. Orange THE SOCIAL NETWORK Parts: Mark, Sean, Eduardo THE BIG LEBOWSKI Parts: The Dude, Lebowski, Brandt BUTCH CASSIDY & THE SUNDANCE KID Parts: Etta* Butch, Sundance JERRY MAGUIRE Parts: Jerry Maguire, Rod Tidwell GOLDFINGER Parts: James Bond, Pussy Galore* Fill out this form to play one of the roles in one of the scenes above. Please note that there is a limited-capacity event. Space is reserved for those who sign up first. * Men are encouraged to sign up for roles marked with asterisks This New Years day, we remember the successes of women over the past year. The attention given to the issue of gender inequity in film, television and media continues to grow; meanwhile, women have been turning out exceptional content — especially in television. Issa Raes “Insecure, ” Ava DuVernays “Queen Sugar, ” & Pamela Adlons “Better Things” have all been picked up for second seasons after premiering this year. The first season of “Queen Sugar” had an all-woman slate of directors, and Season 2 of “Jessica Jones” will follow suit. DuVernay also has been breaking down barriers in film— she began shooting A WRINKLE IN TIME this fall, the first film with a budget over 100 million ever helmed by a woman of color (Ava reminds us that many have been qualified before her. We are so proud of our members and their amazing trailers!  We had over 100 submissions, which were judged by eight active industry professionals from NBCUniversal, Seed and Spark, Steakhaus Productions, Haven Entertainment, and LA Bellatini Casting. The top one third have advanced to the semi-finals, where they were judged by studio execs and agents from NBCUniversal, Lionsgate, and CAA, among others. We are pleased to announce that the finalists have been selected and will screen at an exclusive networking event January 13th. More details will be forthcoming. Pecado Original – Jean Lee No Light and No Land Anywhere – Amber Sealey Crowns –  Halee Bernard Pathways –  Florencia Krochik 5th Passenger –  Morgan  Lariah #iAmThatBoy – Lagueria Davis Or Die Trying –  Chelsea London Lloyd Kimi Hana Fashionista Ninja –  Ren Hanami Californias Forgotten Children –  Melody C. Miller Mixed – Aris Mendoza On the Market –  Cameran Surles Dark Arts –  Bao Xiong Angry Black Women –  Angie Browne Shiner –  Gabriela Gonzalez Surviving Me: The Nine Circles of Sophie –  Leah Yananton The Do-Over – Jennifer Mangan Somebodys Mother –  Mandy Fabian Battery Park –  Annunziata Gianzero 2 Self Help Books Away From Being Perfect –  Kimberly Young A Whole New Irving –  Alexandra Komisaruk Proud of Me – Adrienne Richards and Mandy Fabien Everything but a Man –  Nnegest Likké December 10, 2016: Women In Film Board Member Deobrah Liebling received a “Broken Glass” award from Palm Springs Women in Film. On November 15th, over 200 people gathered for a snazzy luncheon at the Agua Caliente Casino, Resort and Spa to celebrate the 8th Palm Springs Women in Film and Televisions Broken Glass Awards. PSWIFT annually salutes esteemed women who have literally broken through the glass ceiling in the entertainment industry. Honorees are selected for making a difference in the lives of others through their talents, leadership, entrepreneurial spirit and dedication to the greater community. SOURCE: The Desert Sun As Sundances lineup unfolds, we find more WIF-supported filmmakers are revealed in the program. 2016 Women In Film Finishing Fund Grantees Zoe Lister-Jones & Jennifer Brea; 2016 Women In Film Special Recognition Grantee Kitty Green; and 2015 Women In Film Finishing Fund Grantee Christine Turner have all had films selected for the 2017 Sundance Film Festival. Learn more about these fantastic films by women (source. Band Aid  / U. (Director and screenwriter: Zoe Lister-Jones) — A couple who cant 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. World Premiere Casting JonBenet  / U. A., Australia (Director: Kitty Green) — The unsolved death of six-year-old American beauty queen JonBenet Ramsey remains the worlds most sensational child murder case. Over 15 months, responses, reflections and performances were elicited from the Ramseys Colorado hometown community, creating a bold work of art from the collective memories and mythologies the crime inspired.  World Premiere Hold On  / U. (Director and screenwriter: Christine Turner) — Family bonds are tested when a young man is left to care for his grandmother one morning. Unrest  / U. (Director: Jennifer Brea) — When Harvard PhD student Jennifer Brea is struck down at 28 by a fever that leaves her bedridden, doctors tell her its “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.  World Premiere Brandy Parkers Transformative Experience with #52FilmsByWomen Brandy Parker Still from GIRL WALKS HOME ALONE AT NIGHT (2014) Late Sunday night of Thanksgiving weekend, we hit our goal of 10, 000 pledges to watch #52FilmsByWomen, one each week for a year. This is meaningful. When we started this project, we had taken note of how few cinephiles and industry professionals could name more than a handful of female directors. But when our pledgers tweet, post, and blog with hashtag #52FilmsByWomen, more often than not they name a woman writer or director. The hashtag has appeared in over 30, 000 tweets and posts across platforms. This means name exposure, which turns into name recognition. This means we can turn brilliant and once-obscure filmmakers into household names. Its exciting to learn about different pledgers and the experiences they have with #52FilmsByWomen. Brandy Parker holds weekly movie nights with friends in her Chicago home. One of the films that generated the most discussion in her group was Ana Lily Amirpours GIRL WALKS HOME ALONE AT NIGHT. “Id never seen anything like it before, and at the same time it seemed like a very familiar type of movie. ” Brandy told us that, for a long time, she has enjoyed guessing whether or not a film is written by a woman. She is almost always right. There is some intangible strategy to winning this guessing game, but it has to do with the characters and the way they talk. One example she gave was female characters who outright reject men theyve just met with scalding burns: usually written by men. Given her expert guessing which films are by women, and a long time commitment to feminism and content by women, Brandy didnt expect #52FilmsByWomen to be groundbreaking for her, but it was. She tries to stay up to date about films by women coming out because she loves them so much. “You never see these stories. So many of these movies that Im watching… theyre just perspectives that you never see. ” She mentions Ava DuVernays MIDDLE OF NOWHERE: “Ive never seen a movie thats about a woman trying to make it work with her husband in prison. Thats ridiculous. ” If you havent made the #52FilmsByWomen pledge its not too late. All you have to do is go to the page, sign up, and watch a film each week. Weve provided plenty of lists of films to help you get started. This challenge could change your life. Do you share our gratitude for films? GivingTuesday is November 29. Help support wonderful films by women: JOIN or GIVE to our #GivingTuesday page here. Thank you, Jane Campion Come Turkey Day, giving thanks is thrown into high relief. This year, the timing is off. While I am grateful for the end of an egregiously long election cycle, the result leaves me sad, as does the loss of a cherished friend to complications from cancer. Add to that the passing of Leonard Cohen, an artist whose words have inspired me for years. He wrote that “there is a crack in everything. That is how the light gets in. ” And so we look for the light. There are many exceptional films made by women – too many to talk about here – for which I am grateful. The WIF challenge was to pick one. That film is The Piano, written and directed by Jane Campion. I was working in Cannes in 1993 and had the honor of seeing it with an international audience brought to its feet for an extended ovation – it went on to win the Palme dOr that year, and garnered 8 nominations and 3 Oscars in 1994, including best screenplay for Campion. In a different year, where it was not up against powerhouse Schindlers List, it could well have swept with Best Director and Best Picture. It went on to gross 140M on a budget of 7M – proving again that female-facing content is good business. In The Piano, Jane Campion tells the story of Ada, portrayed by Holly Hunter, a young woman forced to leave England for a loveless, arranged marriage in the New Zealand North Island. Upon landing, the mute Ada loses her creative voice when her cherished piano is abandoned on the beach by a cruel and withholding husband. The literal and figurative loss of voice in a patriarchal construct resonates in todays political and social climate. Through her force of will, ingenuity, and rebellion, Ada is able to unearth her sensuality, find love, and break away from internal and external bonds. Campion explores the emotional undercurrents of tenderness, anger, independence, and sensuality with courage, insight, and sensitivity. In the end, Ada finds her light, and her voice. Thank you Jane. —Alison Emilio, WIF Staff The Film that Inspired Me To Direct I will forever be grateful for the film “Lost In Translation, ” which I went to see without knowing much about the plot at the age of 25 when my relationship, job and life all felt like they were falling apart. The movie hit me in the gut, and in the heart. I felt as if Sofia Coppola understood my every fear, hope and vulnerability and manifested it in a movie that was just for me. I resonated so deeply with the main character, Charlotte, as she drifted through a lonely trip in Tokyo, searching for purpose and a connection that she finds in the unexpected relationship with Bill Murrays brilliantly portrayed Bob Harris. I was awestruck when the film ended, and desperate to see it again, which I did another 5 times in the movie theater and then countless times on DVD. Detractors of the film complained that “nothing happened”, but to me, everything happened as Bob and Charlotte tentatively, fumblingly forge a relationship in a suspended time and place, and help each other through their respective quarter and mid-life crises. I also believe that film inspired my journey to become a film director, and showed me the kind of small-in-scope-but-enormous-in-emotional-weight stories that could be told in cinema. —Melissa, WIF Subscriber Delicious Social Commentary Im thankful for THE WOMEN. The 1939 version (not the remake. Though it wasnt directed by a woman -it was directed by the great George Cukor- it only had women in the cast and I remember being struck by that fact when I first saw it as a young girl on tvs “The Million Dollar Movie”. Its based on a Clare Boothe Luce play and was adapted for the screen by Anita Loos and Jane Murfin. The film stars Joan Crawford, Norma Shearer and Rosalind Russell (and many other 30s film stars) and is a delicious social commentary of the time. Men are discussed throughout but never seen. I watch it whenever is shows up in tv- a real treat! —Gayle Nachlis, WIF Staff Memories with My Sister As a kid, I remember watching YOUVE GOT MAIL over and over again with my younger sister. To this day, we joke around reciting the script weve memorized. I remember growing a little older after first seeing the film, and learning that my favorite romantic comedy was a rare example of a film written and directed by a woman; not only that, but writer/director Nora Ephron began her writing career as a badass journalist. I am still grateful for Nora Ephron and everything shes inspired for me. May she rest in peace. —Lauren Byrd, WIF Staff Agnes Varda in a Small Town I live in Joigny, a small Burgundy town, under 10 000 thousand people living there. The great news here is that we are opening a new cinema, mono screen, called after Agnès Varda. We have also decided to follow your incentive and we show at least one film made by women each week. We started with an Agnès Varda retrospective, She really is a film maker to notice. Her first long was “La Pointe Courte” in 1954, filmed in Sète (south of France. Beautiful frames, the documentarists eye. —Françoise Depardon, WIF Subscriber Growing Up With Films Im thankful for: Beauty and the Beast…the original animated film. I was two years old when this film came out. My parents took me to the theater to see it, and had a bet that I wouldnt sit through the entire thing. But I did. I sat there completely engrossed. Who knows what about this particular film captivated my two year old mind, but throughout the years, this was a film that I would rewatch over and over again with my family, and now as an adult, I am grateful for the nostalgia is brings. Lars and the Real Girl, screenplay by Nancy Oliver. One of my all time favorite movies. I had no idea what to expect, but I fell in love. At first glance the story of a shy man who falls in love with a blow up doll seems so outlandish, but somehow they managed to make everything about this believable, and genuine. The performances were stellar. Just all around fantastic film. Girlhood by Céline Sciamma I saw this film on a whim at a festival, and was completely blown away. Its so rare to see a sophisticated, grounded, coming of age story, with a black female protagonist. —Ashley Chrisman, WIF Staff A Film That Blew My Mind Clueless – A pivotal movie of my childhood that taught me theres nothing wrong with having a well developed lexicon. Bend It Like Beckham – A true girl buddy and sports film, maybe the only one Id seen up to that point. A thoroughly entertaining watch for a 14 year old that wasnt just about getting the guy in the end. Daughters of the Dust – I had to watch a lot of movies in undergraduate for my major, and this is the first one I saw that blew my mind, both for its artistry and Dashs sheer will to make it. It inspired me to keep going in my own craft. Monsoon Wedding – I think this will always be in my favorites list, its just so damn pretty. —Maikiko James, WIF Staff Seeing a Strong Woman One film Im grateful for is My Brilliant Career starring Judy Davis and directed by Gillian Armstrong. I saw it as a kid on my local PBS station. A Detroit News film critic had a show on Saturday nights where he showed old and independent films. My Briiliant Career was the first time Id seen a romantic film where the protagonist doesnt choose the guy and decides to pursue her own dreams and hit a nerve with me as a young girl. —Bianca Asibu, WIF Fellow First Time in the Cinema 1. The Sound of Music–This is the first movie I remember seeing in the theater.  My mom took me when I was a little girl, and its played a huge role in my life and that of my children.  I showed my kids the film when they were little, we sang along to the soundtrack in the car, and my 16-year-old daughter and I still watch it annually and sing the words to all the songs together. 2.  The Wizard of Oz–Long before the VCR, this film was shown on network TV every Thanksgiving night, and my brother, cousins, and I would curl up under blankets and watch together.  The flying monkeys and the witches always creeped us out, even though we watched it every year. I took my kids to see it on the big screen when they were little, and it brought back great memories of time spent with my family long ago. 3.  The Way We Were–I love Barbra Streisand, and this is a quintessential Barbra film, featuring an ultra-strong, smart female character.  I also think its one of the saddest films ever, as she makes the choice to leave the man she loves. —Amy Guy, WIF Staff The narrative winners are: Solace by Tchaiko Omawale; Band Aid by Zoe Lister-Jones; Miracle by Egle Vertelyte; and The Darkest Days Of Us by Astrid Rondero. Documentary recipients are: Amor Puro Y Duro by Catherine Gund and Daresha Kyi; Canary In A Coal Mine by Jennifer Brea; Farida And Gulnaz by Clementine Malpas; Mudflow by Cynthia Wade and Sasha Friedlander; Tribe by Jordan Bryon; and When A Girl Is Born by Sarita Khurana and Smriti Mundhra. The two charities awarded PSAs for 2017 are: 1) Access books 2) Childrens Burn Foundation If you want to apply for the opportunity to direct, produce or write one of these PSAs you must do the following: Be a WIF member Pull together a team of WIF members in the roles of Director, Producer and Writer Create a pitch for one of the two charities Email the office to set an appointment to pitch at the January 18th meeting at WIF Send any media for the presentation by Jan 16th to You are not allowed to reach out to the charity for information. You can google them but no direct contact Thank you for your interest. On January 31, well hold a screening of Women In Film Member shorts at The West Hollywood Library, hear from the selected filmmakers, and celebrate with a post-screening reception. Filmmakers chosen to screen will be notified in early January. This event will be open to the public. Submissions must be directed and/or written by active WIF/LA member in good standing. Feature Film Editor with 20+ years of experience. View my credits at Also open to television. Experienced across multiple genres. I get along well with all personality types, am smart, a good manager and a hard worker. I have an extensive background in VFX. 310/795-2566 Women In Film is hosting two wonderful films at AFI FEST: ALWAYS SHINE & BUSTERs MAL HEART. Tickets to AFI Fest screenings are free! AFI FEST is the American Film Institutes annual celebration of international cinema from modern masters and emerging filmmakers. It takes place each fall in Hollywood, CA, and features nightly red-carpet galas, special screenings, conversations and tributes. AFI FEST remains the first and only festival of its stature that is free to the public, offering the best of current cinema in Hollywood. AFI FEST 2016 is its 30th edition — and its 13th year with the visionary support of presenting sponsor Audi. Los Angeles longest-running international film festival remains a showcase for the best festival films of the year, and an opportunity for artists to come together with audiences in the heart of the movie capital of the world. The Academy of Motion Picture Arts and Sciences recognizes AFI FEST as a qualifying festival for both Short Films categories of the annual Academy Awards — a tradition that continues each year. We are so proud of our members and their amazing teaser/trailers! We had over 100 submissions, which were judged by eight active industry professionals from NBCUniversal, Seed and Spark, Steakhaus Productions, Haven Entertainment, and LA Bellatini Casting. The top one third have advanced to the semi-finals, where they will be judged by studio execs and agents from NBCUniversal, Lionsgate, and CAA, among others. The highest scoring teasers/trailers will be screened at an exclusive networking event in early January. More details will be forthcoming. Congratulations and well-done, female filmmakers! Crowns – Halee Bernard Pathways – Florencia Krochik 5th Passenger – Morgan Lariah Or Die Trying – Chelsea London Lloyd Kimi Hana Fashionista Ninja – Ren Hanami Californias Forgotten Children – Melody C. Miller The World According to Tallulah – Holly Payberg & Mhairi Morrison On the Market – Cameran Surles The Passage – Kathleen Davison Dark Arts – Bao Xiong About that Life – Catherine Ouellette Angry Black Women – Angie Browne Shiner – Gabriela Gonzalez Surviving Me: The Nine Circles of Sophie – Leah Yananton In the Darkness – Lea-Beth Shapiro Somebodys Mother – Mandy Fabian Grace & Grit – Blair Bomar Galamsey – Lena Mesiano Special – Ann P Meredith Turnt – Meiko Taylor The Reason – Meiko Taylor Battery Park – Annunziata Gianzero Hope: The Last Paladin – Kiralee Hayashi 2 Self Help Books Away From Being Perfect – Kimberly Young A Whole New Irving – Alexandra Komisaruk Afronell – Jan Arnold The Spitting Cobras – Sarah Hamblin Everything but a Man – Nnegest Likké Composer for over 50 projects – including multiple award winning international & domestic films, ASCAP Workshop Fellow, Alumna of the prestigious USC Film Scoring program. Will go above and beyond to create a score that heightens your story.  Your vision is my priority. ONE NIGHT ONLY!  WOMEN IN FILM INTERNATIONAL COMMITTEE Presents DEAF JAM: Celebrating International Deaf Talent Enjoy a wonderful dinner and show at The Prospect Theater, a premier club in Hollywood. Experience Deaf Culture, Talent & Sign Language through the arts. Highlights from Cannes to Broadway in Music, Hip Hop Dance, Fashion & Award Winning Films!          MC for the evening, Actress Deanne Bray:  Sue Thomas F.          Filmmaker Fashion Walk ByMara          Live ASL Musical Performance “Fiddler on the Roof” & “Hamilton” by Broadways Sandra Mae Frank and Josh Castille (Deaf West Theatres Tony Nominated Musical “Spring Awakening”          Hip Hop Dancer Shaheem Royal Sanchez performing live          Award Winning Films Screening and Q&A VENUE: Prospect Theater in Hollywood, 6356 Hollywood Boulevard, Los Angeles, CA 90028 DATE/TIME:  Friday, November 4, 2016 Doors Open: 7:00PM Show: 7:30PM – 10:00PM RESERVED SEATS ONLINE:  20. 00 WIF Members /25. 00 NON-Members + 2 menu item food/drink per person. Use WIF (code) for Discount EVENING PROGRAM MC OF THE EVENING: Actress Deanne Bray: Sue Thomas F. Sue Thomas on TV show “Sue Thomas F. ”  and  Emma Coolidge on TV show  “ Heroes” Ms. Bray is now known within the Hollywood industry and beyond as someone who brings honesty, depth, and her own unique charm to her growing list of roles. She has also done work for Disney, Paramount, HBO, Sony, CBS, ABC and NBC as well as having been a stalwart performer at the prestigious Deaf West Theatre and CTG Theater Group, earning accolades and awards for her performances FILMMAKER FASHION WALK Filmmakers Intros on the Catwalk! International Designs By Mara Featuring fashion worn by Nyle DiMarco from Dancing with the Stars! LIVE PERFORMANCES Sandra Mae Frank: ASL Musical Performance from Fiddler on the Roof. Cast as lead actress (Wendla) 2016 Tony Nominated Deaf West Theatres Spring Awakening Best Musical Revival.  She is the National ZVRS Bridging Two Worlds Spokesperson. Summer 2016 lead actress in Fiddler on The Roof at the Lyric Theatre, Oklahoma. Sandra guest starred in ABC Family Switched at Birth two episodes. Film credits The Strength Within You (2017. Josh Castille Directs & Intros “The Schuler Sisters” from Hamilton Actor on stage and screen known for Passengers (2015) The Strength Within You: Love Wins (2016) and Sign (2016) Stage credits: 2016 Tony Nominated Deaf West Theatres Spring Awakening; Lead Role Billy in Nina Raines Tribes (2016) The Schuyler Sisters Cast: ASL Artists: Tyrone Oraguzie, Kyleigh Herrara, Ashlea Hayes, Kailyn Aaron-Lozano. Hip-hop Performance Shaheem Royal Sanchez FILM SCREENING WITH Q&A Deaf Jam (Feature Trailer) American Film Showcase 2015 In Deaf Jam, Aneta Brodski is a deaf teen introduced to American Sign Language (ASL) Poetry, who boldly enters the spoken word slam scene. In a wondrous twist, Aneta, an Israeli immigrant living in the Queens section of New York City, eventually meets Tahani, a hearing Palestinian slam poet. The two women embark on a collaboration/performance duet – creating a new form of slam poetry that speaks to both the hearing and the Deaf. Director: Judy Lieff; Consultant: Jo-Ann Dean; Actress: Aneta Brodski No Ordinary Hero (Feature Trailer) A deaf actor who plays a superhero on a TV show must look beyond the cape to inspire a deaf boy to believe in himself. Executive Producer: Liz Tannenbaum, Paul Maucere, and John Maucere. Director: Troy Kotsur Actors: Marlee Matlin, John Maucere, Shoshannah Stern, Michael Anthony Spady, Ryan Lane, Liz Tannenbaum, Deanne Bray, Ashley Fiolek, Robert DeMayo, Kathy Buckley, Bernard Bragg Titus Film (Feature Trailer) 12 months. 9 steps. 1 truth. Elizabeth, a young recovering drug addict, on her quest to make amends to Vedette, a woman that happens to be deaf, ends up befriending her and redeeming them both. Actress: Antoinette Abbamonte, Writer, Director, Producer: Diane Zuros Co-Writer, Producer: Nino G. Gordeli The Tribe (Feature Trailer) Winner Cannes 2015 & Interview Yana Navikova Russian Teen Sergey (Grigoriy Fesenko) a new student at the boarding school for the Deaf realizes immediately that he must prove himself worthy to be brought under the protective wing of the school gangs leader to survive unscathed. Sergeys new found clique soon introduces him to their common activities of robbery, bribery and prostitution. He finds himself compromised as he falls in love with his female classmate—and one of the gangs escorts—triggering a sequence of stunningly diabolical events. Beyond Inclusion (Short) Beyond Inclusion is a short fictional film that takes place in the near future. The word “disability” has been replaced with “human diversity, ” and innovations in technology make it possible for meaningful connections between all people. Even with these advances in laws and technology, it may not be enough. Will our culture change? Will certain groups of people still be “cured” or removed? Or are we strong enough to stand together, to fight for and preserve all kinds of human diversity? Director, Writer: Ryan Commerson; Actor: Nyle DiMarco Reel Life: Short) A filmgoer finds himself magically transported to the world of silent films, where he meets a starlet and learns the way of life in a world without sounds. Writer /Actress Kalen Feeney, Eddie Steeples You & Me (Short) A deaf woman meets a recently blinded man. Co-Writer, Director, Actor: Hillary Baack; Writer: Alexander Baack Passengers (Short) Winner 24-Hour Disability Film Challenge A romantic comedy, a charming young driver gets pleasantly surprised by his last fare of the day. Actor, Writer, Director, Editor: Dickie Hearts  Actors: Dickie Hearts, Miles Barbee, Gabriel Silva, Amanda McDonough and Josh Castille Dont Shoot the Messenger (Web series) Jacob, a klutzy sign language interpreter, fumbles through life in NYC hopelessly lost in translation. Although fluent in two languages he constantly finds himself in awkward situations he cant make sense of with eclectic Deaf and hearing New Yorkers. Executive Producer: Maleni Chaitoo Writers: John McGinty, Craig Fogel (ASL Interpreter) Andrew Fisher,  Onudeah Nicolarakis SIGN – a silent film (Short) Through silent vignettes, music, and sign language, “Sign” tells the story of a relationship between Ben, a hearing man, and Aaron, who is deaf. Co- Directors: Andrew Kenan-Bolger ( Tuck Everlasting) Alexandria Wailes ( Tony Nom Spring Awakening) Writer Adam Wachter, John McGinty (Hunchback of Notre Dame) Maleni Chaitoo, Craig Fogel We Are Deaf (Short Documentary) The Deaf community is made up of extremely diverse people from every walk of life, in every corner of the world. Watch this powerful video, a signature statement on just how truly special and global the Deaf community is, with people from 27 different countries participating. We Are Deaf is a special message from us to you. Producer, Director: Joel Barish Hard-working assistant with experience in sales, promotions and marketing. Strengths include multi-tasking, working with large crowds & VIP guests, as well as meeting deadlines in a timely manner. Looking to get involved in every facet of the industry. Email me at. Graduate of NYU. Studied film and business. Interest in screenwriting, producing, and talent representation. Work/Intern experience at Media Rights Capital, The Weinstein Company, Scott Rudin Productions, FilmNation Entertainment, and FilmDistrict. Skill set is diverse in creative and business sectors. Email Women In Film is excited to unveil the “Up and Out” PSA for A New Way of Life. The Los Angeles-based charity provides support to formerly incarcerated women for successful community re-entry, empowering them to be advocates for personal change. The organization boasts an 80 percent success rate. The PSA features an original rap written especially for the production by BRE-Z, the actress and hip hop artist who portrays Freda Gatz in the wildly popular television show Empire (FOX) and parallels the shows current storyline in which BRE-Zs character is poised to emerge from time served. Emerging from prison is a role I left behind when I went home from the set … Ive never been incarcerated, but I have a very close friend – who Ive looked up to since I was younger – who is currently serving time in a federal facility. Through phone and video visits with her, I feel every bit of her pain and understand how her choices affected her and her loved ones. I know the vast majority of these women have not had the opportunities I have enjoyed. I just pray I can be an inspiration for those whove been here before me and those who will come after me. We all have choices in life. The decision is ours. ” — BRE-Z,  actress & hip hop artist We are so grateful that this group of outstanding women came together to help support the women in our program and give them the basic tools they need to turn their lives around.  We hope this PSA brings greater awareness to women leaving incarceration to let them know that there is hope and there is help.  They can find a new way of life. — Susan Burton, founder and director of A New Way of Life In addition to supporting our community by providing a professionally produced marketing tool to worthy causes that would not otherwise be able to afford such assets, the WIF PSA program mentors up-and-coming female talent and provides them with an access point into the industry and an opportunity to learn about film production and practice their skills.  Its a win-win for everyone involved. — Tessa Bell, WIF PSA production program chair BRE-Zs rap was composed and produced by songwriter/performer Chase Bell. The “Up and Out” production PSA team included executive producer Shay Moore, producer Corinne Jayaweera, associate producers Lisa Logan and April Barnes, director Mariya Pyter, writer Dianne Lansing, director of photography Bruce L. Finn, PSA manager Melissa Verdugo and social media manager Jessica Dowdeswell. Women In Film Los Angeles all-volunteer public service ad production program creates three to four professionally produced PSAs each year – from concept through production, editing and distribution (at a value estimated at up to 125, 000) – for Los Angeles-area, women-child-centric charities and at no cost to the organization. The program develops womens professional and creative filmmaking skills while providing a valuable marketing tool to non-profits, which often cannot afford to produce their own.  Through a year-long process, select creative teams are given professional hands-on experience in writing, directing and producing.  Each production crew ranges from 26-63 volunteers and WIF constituents and is made up of 65 percent women, providing an opportunity to build their work experience and be mentored by experienced people from the entertainment industry. The PSAs are shot in HD using industry standard cameras and lighting equipment donated by companies that value empowering creative women.  The spots are distributed through television/cable stations, the Internet and utilized for other promotional opportunities. The program is funded by the City of Los Angeles Department of Cultural Affairs and with generous in-kind donations of equipment from Claremont Camera Film & Digital and Panavision. Actress, business woman. philanthropist Patricia Barry died on Tuesday, October 11. She was 93. Patricia was one of Women In Films very first members. She was a prolific television actress who appeared in more than 100 series and movies, beginning in the mediums earliest days. Her death was confirmed by her publicist, The Associated Press said. Ms. Barrys career began in the 1940s, when she won a Rita Hayworth look-alike contest; the victory led her to Hollywood and a contract with Warner Brothers. After three uncredited screen roles (as “nurse, ” “showgirl” and “music student”) she finally got a character name in “The Beast With Five Fingers, ” a 1947 horror film remembered best for scenes in which a dead pianists disembodied hand, up to no good, creeps its way around an Italian mansion. via New York times WIF Board Member Laura Lewis & Former WIF Board Member Naketha Mattocks are both featured in Varietys “Power of Women L. Impact Report. ” Thanks to them for their invaluable service! Geena Davis‘ Bentonville Film Festival will run from May 2 to May 7 in 2017, organizers announced on Wednesday. Co-founded by the Oscar-winning actress and ARC Entertainment CEP Trevor Drinkwater, the Arkansas film festival champions women and diverse voices in the media. BFF boasts that it is the “only film competition in the world to guarantee theatrical, television, digital and retail home entertainment distribution for its winners in the following categories: Best Family Film, Audience Award and Best Narrative Selected by Jury. ” Sify Movies: Women Directors of Bollywood, camera, and action! Whenever we heard those three words, we automatically thought of scowling men wielding microphones. Well, not anymore. If you go by the success of films like Dhobi Ghat and Peepli Live, the mainstream movie business is no longer alien territory for women directors. Perhaps its their sensitivity to the ways of society or merely just a womans perspective, but women directors bring to the table a different sensibility. Heres our list of women who are changing the face of Bollywood. Read more at: Women In Film International (WIFI) Committee is proud to be supporting (5) women directed film and a VR panel at the AWARENESS FILM FESTIVAL (October 6 – 16, 2016. The film festival location is at LA LIVE Regal Cinemas. The mission of the festival is showcase works on Ecological, Political, Health/Well Being and Spiritual topics. This will be the first time the festival will be featuring related VR experiences. WIF Members can write to to receive a 25% discount code. LOCATION:  LA LIVE Regal Cinemas, 1000 W Olympic Blvd, Los Angeles, CA 90015 FILM INFORMATION: Woman Are the Answer: Director:  Fiona Cochrane  (Australia) Friday, October 7th at 5PM  WEST COAST PREMIER – LA LIVE Regal Cinemas Link to buy: Population growth has been left out of the climate debate because it is seen as controversial, yet it is one of the most important factors. The global population has passed the 7 billion mark and India is overtaking China as the most populous nation in the world, but one state in southern India has found the solution. The unique history of Kerala and ‘the Kerala Model is outlined, using it as an example of achieving population control in developing countries without coercion. THE CARAVAN Director: Margot McMaster (Canada) Saturday, October 15th at 12PM  WEST COAST PREMIER  – LA LIVE Regal Cinema Link to Buy: An inside look aboard The Caravan where adventurers young and old grapple with route-finding, mother nature and group dynamics in an epic horse-drawn experience across America. The Caravan film follows the exploits of an eclectic group of international carriage drivers and horse riders as they journey across the American south from California to Florida over 5 months and 2, 500 miles. Leading this group of relative strangers is Gerard Paagman with his team of elegant Friesian horses fresh off filming The Hunger Games – Catching Fire. Challenging the limits of disability is Michael Muir, Great Grandson of the visionary John Muir, Father of the National Parks and co-founder the Sierra Club, a conservation movement in the U. S... This epic journey weaves its way through iconic landscapes, up and over mountains, through vast deserts, under tall pine forests, to bayous and down the backroads of America. The film explores the complexities of group dynamics, the relationship we share with our horses in this modern world and the surprising connections made along the route. Everyone came to The Caravan laden with their individual expectations but united by their love of the horse, what happened on the journey was something they will never forget. INN SAEI: THE SEA WITHIN, Director:  Kristín Ólafsdóttir (Iceland) Saturday, October 15 th at 4PM   WEST COAST PREMIER – LA LIVE Regal Cinemas In the inspiring and thought-provoking InnSæi – the Power of Intuition, Hrund Gunnsteinsdottir and Kristín Ólafsdóttir go on a soul-searching, global journey to uncover the art of connecting within in todays world of distraction, disconnection and stress. They meet with world-renowned scientists like Marti Spiegelman, an expert in neuroscience and indigenous consciousness who believes that we are only using a fraction of our capacity as human beings, with devastating consequences for the planet; artists like Marina Abramovic, the “grandmother of performance art” who teaches that “in order to create something new human beings need to go into the unknown”; and spiritual leaders like the captivating Malidoma Patrice Somé, a West African elder and author who reasons that “intuition binds us together. Without it we lose our sense of purpose and belonging. ” They also meet an extraordinary group of British schoolchildren who are learning how to better cope in todays world by unlocking the power of nature and mindfulness. gorgeous animation and stunning imagery today SANDS OF SILENCE: WAVES OF HOPE, Director: Chelo Alvarez-Stehle (Spain) Sunday, Oct 16th at 2PM WEST COAST PREMIER – LA LIVE Regal Cinemas A 15-year quest to expose the underworld of sexual exploitation and trafficking from Asia to the Americas leads filmmaker Chelo Alvarez-Stehle to the windswept beach where her childhood ended and family secrets began. As she documents the transformation of sex-trafficking survivor Virginia Isaias—a Mexican American woman whose past is engulfed in a cycle of sexual exploitation—into a resilient survivor committed to break that pattern, Chelo undertakes a parallel journey of healing and introspection as she sets out to shatter the silence about abuse in her own life. VR PANEL: “The Many Ways VR Is Shaping Our Imagination, Our Storytelling and Our Life”. Virtual Reality (VR) has grown at a rapid rate over the last few years, and will continue to grow as the audience demand increases. Join us as we explore how VR can shape our imagination, become innovative storytellers and be part of our daily lives. Moderator: Ruby Lopez, Co-Chair WIF International Committee / Producer Panelists: Angela Haddad, VR Producer, SilVR Thread Evette Vargas, CEO, Writer, Director, Multiplatform Storyteller, Digital Reign Productions Additional Panelists TBA DATE & TIME:   Saturday, October 8, 2016 at 2:00PM – 3:30PM ADDITIONAL INFO: Seating is limited and is on a first come basis. Must have a DAY PASS to attend all panel seminars AWARENESS FILM FESTIVAL INFORMATION The Mission of the Awareness Film Festival is bringing and opening eyes to some of our worlds pressing issues; Ecological, Political, Health/Well Being and Scientific Progress. We showcase both Documentary and Narrative Features, as Short Films, Music Videos and Public Service Announcements. The Awareness Festival was formed by Heal One World, a non-profit charity. This Festival is also a fundraiser for Heal One World, a non-profit charity organization. Any net profit from this event will go completely to charity Costume Designer for Film, TV and Shorts. I possess a variety of specialty skills in which even the wildest of visions can be realized. I have worked on several motion pictures as a costume designer and have always been under budget. Online portfolio is Contact me at: Women In Film is pleased to present this list of films directed by women at 2016s New York Film Festival (running 9/30-10/16. Ava DuVernays THE 13TH, will break ground as the first documentary to open the festival. In addition to showing these thirty films by women, New York Film Festival also supports director Alice Rohrwacher as their 2016 filmmaker in residence. Scroll down to learn more about the films, and click the titles to purchase tickets. If you are in New York this fall, this is a great way to support female filmmakers (and add to your list of #52FilmsByWomen) The 13TH Directed by Ava DuVernay Main Slate Ava DuVernays extraordinary and galvanizing nonfiction film refers to the loophole in the 13th Amendment that allowed for a progression from slavery to the horrors of mass incarceration and the prison industry. The director lays this out with a bracing lucidity that makes for a work of grand historical synthesis and an overwhelming emotional experience. To quote Woodrow Wilson on another movie, its like writing history with lightning. Directed by Kelly Reichardt Adapting short stories by Maile Meloy, Kelly Reichardt constructs a lean triptych of subtly intersecting lives in Montana, starring Laura Dern, Michelle Williams and Kristen Stewart. Shooting on 16mm, Reichardt creates understated, uncannily intimate dramas nestled within a clear-eyed depiction of the modern American West. The Rehearsal Directed by Alison Maclean Alison Maclean (Jesus Son) returns to her New Zealand filmmaking roots with a multilayered coming-of-age story about a young actor searching for the truth of a character hes playing onstage and the resulting moral dilemma in his personal life. Things to Come Directed by Mia Hansen-Løve The new film from Mia Hansen-Løve (Eden) is an exquisite expression of times passing. Isabelle Huppert is Nathalie, a Parisian professor of philosophy who comes to realize that the tectonic plates of her existence are slowly but inexorably shifting. Hupperts remarkable performance is counterpointed by the quietly accumulating force of the action. Directed by Maren Ade An audacious twist on the screwball comedy, in which the twosome is an aging-hippie prankster father and his corporate-ladder-climbing daughter, Toni Erdmann delivers art and entertainment in equal measure and charmed just about everyone who saw it at the Cannes Film Festival this year. Dobro Directed by Marta Hernaiz Pidal Shorts Selma is determined to get rid of the Romani woman sitting on her apartments entrance steps. And The Whole Sky Fit In The Dead Cows Eye Directed by Francisca Alegria Emeteria is visited by a ghost she believes has come to take her to the afterlife. But he has more devastating news. What Happened to Her Directed by Kristy Guevara-Flanagan A biting, beautifully gruesome exploration of female corpses, as portrayed nude on screen. Kitty Directed by Chloë Sevigny Sevignys highly anticipated directorial debut is an adaptation of a Paul Bowles short story, a hypnotic and ethereal fairy tale for today about a young girls feline reveries. This Castle Keep Directed by Gina Telaroli The shapeshifting latest from the multi-hyphenate Telaroli is a moving elegy for that which gets lost over the years in a changing city. Brillo Box Directed by Lisanne Skyler Andy Warhols Brillo Box sculpture makes its way from a familys living room to a record-breaking Christies auction in this exploration of how we navigate the ephemeral nature of value. Everything Else Directed by Natalia Almada Explorations In her empathetic first fiction feature, documentarian Natalia Almada focuses on a Mexico City government clerk (Oscar nominee Adriana Barraza) all but dehumanized by 35 years of bureaucratic servitude. Regal Directed by Karissa Hahn Projections An old Regal Cinemas pre-show animation is further degraded as its run through a ringer of format transfers, each layer representing a different viewing space. See a Dog, Hear a Dog Directed by Jesse McLean This tragicomic analysis of communication between humans, animals, and machines was made with original video footage, computer animations, and internet media, including YouTube dog videos, chatbot dialogue windows, and images from iTunes visualizer. Burning Mountains That Spew Flame Directed by Helena Girón and Samuel Delgado Scientific claims made by 17th-century Jesuit polymath Athanasius Kircher and political ones made by the Invisible Committee are examined in this journey into the volcanoes of Lanzarote. Bending to Earth Directed by Rosa Barba Helicopter shots circle variously colored shapes carved into desert landscapes. We discover these manmade inscriptions are storage cells for radioactive material designed to eventually return to the soil. Bad Mama, Who Cares Directed by Brigid McCaffrey A portrait of geologist Ren Lallatin, who inhabits the blazing heat of the Mojave desert, this structural-lyrical landscape film is shot on richly tinted film. The Illinois Parables Directed by Deborah Stratman Eleven episodes from the history of Illinois stand in for the United States at large. Working in her essayistic, political mode, Deborah Stratman synthesizes an array of materials into a rigorous yet playful consideration of the catastrophe of the state and the resilience of those who make up the nation. Flowers of the Sky Directed by Janie Geiser Named after a medieval term for comets, Flowers of the Skyfinds a seemingly infinite number of ways of looking at and into two mid-century postcards depicting the Freemasonic Order of the Eastern Star, using a macro lens and a variety of printing and masking techniques. Answer Print Directed by Mónica Savirón Answer Print is assembled with pieces of deteriorating 16mm color stock. Not only the images themselves but also the world that produced them and which they reproduce—here suspended in the red aspic of faded color dye—threatens to disappear. Athyrium filix-femina Directed by Kelly Egan This homage to botanist and photography pioneer Anna Atkins was made in cyanotype photograms and reanimated film stills on stock exposed in the sun. Handcrafted with historically domestic, feminine tools, its structured as a narrative in quilting patterns. Spotlight on a Brick Wall Directed by Alee Peoples and Mike Stoltz An abstracted nightclub performance, its constituent parts—stand-up comedy, a capella, a laconic bass-and-drum rock duo, a slapstick mime—wrenched apart and recombined. Há Terra! Directed by Ana Vaz The camera jerks quickly across a field in the Brazilian Sertão, homing in on a young Maroon woman crouching in the tall grass. A hand feels around in the brush, caressing the earth. From these two images, Ana Vazs film proceeds on tracks that neither fully merge nor completely diverge, expressing the incommensurability of filmmaker and subject. An Aviation Field Directed by Joana Pimenta Using warm, darkly saturated 16mm images shot on the volcanic island of Fogo, Cape Verde, and in modernist Brasilia, and sounds that range between trebly crackle and aquatic gurgle, Pimenta constructs a surreal and mythical landscape from the remnants of Portuguese colonialism. Electrical Gaza Directed by Rosalind Nashashibi Commissioned by Londons Imperial War Museum, Electrical Gaza combines vérité documentary scenes of public life in Gaza shot by Nashashibi in 2014, portraits of her crew, and uncanny, painterly computer animations modeled from the footage, rendering it unreal—as the Israeli government would claim and Palestinians would like to make it. Bright Lights: Starring Carrie Fisher and Debbie Reynolds Directed by Alexis Bloom Spotlight on Documentary Unlike todays newly minted celebrities, Carrie Fisher and Debbie Reynolds are open books. Bright Lights is an affectionate, often hilarious and unexpectedly moving valentine to the mother-daughter act to end all mother-daughter acts. The Cinema Travellers Directed by Shirley Abraham, Amit Madheshiya A colorful, five-years-in-the-making documentary about two itinerant film projectionists in the Central Eastern Indian province of Maharashtra, this is a melancholy but joyful experience, about the wonder of still images coming to life at 24 frames per second. Karl Marx City Directed by Petra Epperlein, Michael Tucker The filmmaking team of Petra Epperlein and Michael Tucker turn their attention to the former East Germany of Epperleins childhood, and specifically to the possibility that her father might have been one of the many thousands of citizens recruited as informers by the Stasi. Patria O Muerte: Cuba, Fatherland or Death Directed by Olatz López Garmendia Olatz López Garmendias film is a sharp, vivid portrait of Cuba as it is right now, on the verge of change, seen through the eyes of citizens who are struggling to live freely. Restless Creature: Wendy Whelan Directed by Linda Saffire, Adam Schlesinger The extraordinary Wendy Whelan, principal dancer at New York City Ballet for 23 years, is followed throughout a passage of life that all dancers must face, when she must confront the limits of her own body and adapt to a different relationship with the art form she loves so madly. Composer dedicated to creating a unique musical voice for each film that powerfully realizes the directors vision. MM, Yale. BM, Eastman School of Music. Mentors: legendary minimalists Steve Reich, John Adams and Oscar-nominated David Lang. Features, Docs, Shorts. Music Editing also available. Web: IMDB: Email: Virtual Reality production has grown exponentially over the last few years, and will continue to grow as audience demand for new experiences increases ever more quickly. On September 26, Women In Film Speaker Series hosts a panel of six groundbreaking VR creators, who will give an inside look at one of todays most exciting content fields. Clips will be shown from their newest works, and attendees will learn how they too can become a part of this important medium. Did you know that Lucille Ball, the namesake of our Lucy Award, greenlit the original Star Trek? via A Mighty Girl. Twenty-five years after directing the ‘Apocalypse Now doc ‘Hearts of Darkness, the helmer is making her narrative feature debut with the autobiographical Toronto entry ‘Paris Can Wait which sources say her nephew Nicolas Cage dropped out of. “Im this housewife who suddenly decided to write and direct a film. ” It all began with a cold. In 2009, Eleanor Coppola was accompanying her husband, Francis Ford Coppola, to the Cannes Film Festival when she fell ill and decided to stay behind and rest as he traveled on to Budapest. A French associate of Francis offered to drive her to the Paris airport. But what should have been a seven-hour trip turned into a three-day adventure filled with wine, truffles and sweeping vistas. It jolted the then-73-year-old out of her everyday ennui. For while Coppola was an accomplished visual artist and Emmy-winning director in her own right, she had stifled many of her creative ambitions to nurture the filmmaking careers of her husband and children, Sofia, Roman and the late Gian-Carlo. The whole industry is talking about inclusion in a way it hasnt in a long time. We never want to say ‘[diversity] is the goal because I dont think thats the right way to do it. But we do want to make sure were paying attention and maybe looking more deeply for stories that will help continue that conversation. —Cameron Bailey, TIFF artistic programmer Since its inception 1976, Toronto International Film Festival (TIFF) has been known as a locus for the best films made each year. TIFF is a pivotal event for the film industrys economy, so we were thrilled to compile this list of SEVENTY-TWO films directed by women that will screen at Toronto this year. The festival runs from September 8-18. If you plan to attend, please support some of these fantastic films with your presence. If you cant make it this fall, you can still show your support by watching their trailers, following their stories, and posting about them on social media. #52FilmsByWomen Select World Premieres The Edge of Seventeen Directed by Kelly Fremon Craig Produced by Cathy Schulman (President, Women In Film) Gala Presentations Oscar nominees Hailee Steinfeld and Woody Harrelson star in this hilarious, edgy and poignant coming-of-age tale about an endearingly witty but self-absorbed teen whose life goes into a tailspin after her older brother starts dating her best friend. Queen of Katwe Directed by Mira Nair David Oyelowo (Selma) and Academy Award winner Lupita Nyongo (12 Years a Slave) star in the true story of a young girl from rural Uganda (played by newcomer Madina Nalwanga) who discovers a passion for chess, and sets out to pursue her dream of becoming an international champion. Anatomy of Violence Masters Celebrated filmmaker Deepa Mehta investigates one of Indias most notorious crimes — the 2012 gang rape and murder of a 23-year-old woman on a Delhi bus — in her angry, impassioned and essential new film. A United Kingdom Directed by Amma Asante Amma Asante (Belle) helms this biopic of Seretse Khama (David Oyelowo) the former African royal who courted controversy with his interracial marriage to Englishwoman Ruth Williams (Rosamund Pike) and later led his nation to independence from the British Empire as the first president of Botswana. An Insignificant Man Directed by Khushboo Ranka, Vinay Shukla Docs Filmmakers Khushboo Ranka and Vinay Shukla follow Arvind Kejriwal, “the Bernie Sanders of India, ” as he shakes up the complacent and corrupt status quo of Indian politics as the head of the Common Mans Party. Their Finest Directed by Lone Scherfig Danish filmmaker Lone Scherfig (An Education, The Riot Club) directs a sterling British cast — including Gemma Arterton, Bill Nighy, Jack Huston and Richard E. Grant — in this period comedy-drama about a group of filmmakers struggling to make an inspirational film to boost morale during the Blitz of London in World War II. Girl Unbound Directed by Erin Heidenreich An intimate portrait of Maria Toorpakai, who defies threats to herself and her family from Islamic fundamentalists in order to represent Pakistan as an internationally competitive squash player. More Films by Women Raw Directed by Julia Ducournau Midnight Madness A shy, vegetarian student at a veterinary college develops an insatiable lust for flesh as the result of a gruesome hazing ritual, in this grisly and gory tale of a cannibalistic coming of age. The Bad Patch Directed by Ana Lily Amirpour Vanguard A young girl wanders a savage desert wasteland in a dystopian future United States, in Ana Lily Amirpours highly anticipated follow-up to A Girl Walks Home Alone at Night. A powerfully personal journey through the former East Germany, as Epperlein investigates her fathers 1999 suicide and the possibility that he may have worked as a spy for the dreaded Stasi security service. Planetarium Directed by Rebecca Zlotowski In 1930s France, two sisters (Natalie Portman and Lily-Rose Depp) who perform as supernatural mediums cross paths with a visionary film producer. Paraya Directed by Sheetal Magan Short Cuts A troubled young mother drifts through the bustling city of Durban in search of the disappeared father of her is a stark portrayal of a womans attempt to shape her future. Window Horses Directed by Ann Marie Fleming Special Presentations Sandra Oh, Ellen Page and Don McKellar lend their voices to this warm and witty animated feature by Ann Marie Fleming (The Magical Life of Long Tack Sam) about a young Canadian poet who undergoes a life-changing experience when she attends a poetry festival in Iran. Heal the Living Directed by Katell Quillevere Platform Ivory Coast-born filmmaker Katell Quillévére adapts Maylis de Kerangals Booker Prize–longlisted novel for this elegant and affecting film which draws three seemingly unrelated stories together into a tale about the moment when tragedy meets hope. Paris Can Wait Directed by Eleanor Coppola Eleanor Coppola (Hearts of Darkness: A Filmmakers Apocalypse) directs this sexy and charming road movie, about a fiftysomething empty-nester (Diane Lane) with a workaholic husband (Alec Baldwin) who embarks on an impromptu, two-day journey through the French countryside with a rakish bon vivant (Arnaud Viard. 350 MYA Directed by Terra Long Wavelengths In Terra Longs 350 MYA, a sheet whips before the camera, shaped by the same wind that forms the rigid, undulating lines of sand below it as the film conjures the continued presence of the now vanished Rheic Ocean in the Tafilalt region of the arid Sahara Desert. Directed by Stella Meghie Discovery A whip-smart tale about the twentysomething scion of an all-female Brooklyn clan wrestling with her literary aspirations, romantic mishaps, and the chaotic preparations for her estranged fathers funeral. Half a Man Directed by Kristina Kumric Two sisters in 1991 Croatia prepare a special homecoming for their father on the day hes set to return after three months as a prisoner of war. Kristina Kumric crafts a powerful portrait of a family thats just beginning to see the damage its suffered. Prevenge Directed by Alice Lowe Alice Lowe (Sightseers) is a triple threat as the writer, director and star of this pitch-black comedy about a pregnant woman whose unborn child psychically spurs her on to murder. One Sings, the Other Doesnt Directed by Agnes Varda TIFF Cinematheque Agnès Vardas 1977 masterwork is simultaneously a musical, a protest film, a portrait of a generation and, most importantly, a tender and insightful exploration of female friendship. Maudie Directed by Aisling Walsh Academy Award nominees Sally Hawkins (Happy-Go-Lucky, Blue Jasmine) and Ethan Hawke star in the true story of Maud Lewis, who overcame the physical challenge of juvenile rheumatoid arthritis to become one of Canadas premier folk artists. Nelly Directed by Anne Emond A creatively imagined biopic of controversial Quebec writer Nelly Arcan, who scandalized the French literary world with her semi-autobiographical novel based on her experiences as a sex worker. Foreign Body Directed by Raja Amari Seeking refuge from her Islamist radical brother whom she informed on, a young woman arrives in France illegally following Tunisias Jasmine Revolution and discovers a new world of both hope and danger, in the fourth feature from writer-director Raja Amari (Satin Rouge, Buried Secrets. This lyrical documentary chronicles the vanishing tradition of the mobile “tent cinemas” that bring films to far-flung towns and villages across India. Carrie Pilby Directed by Susan Johnson Awkward, isolated and disapproving of most of the people around her, a precocious 19-year-old genius is challenged to put her convictions to the test by venturing out on to the NYC dating scene, in this adaptation of Caren Lissners best-selling 2003 novel. < The River of My Dreams: A Portrait of Gordon Pinsent Directed by Brigitte Berman Director Brigitte Berman profiles Canadian icon Gordon Pinsent, who left Newfoundland in the late 1940s to launch a storied, seven-decade career as one of the leading actors and most beloved figures in Canadian film and television. We Cant Make the Same Mistake Twice Directed by Alanis Obomsawin The new film from celebrated documentarian Alanis Obomsawin (Kanehsatake: 270 Years of Resistance) chronicles the events following the filing of a human-rights complaint by a group of activists, which charged that the federal governments woefully inadequate funding of services for Indigenous children constituted a discriminatory practice. The Journey is the Destination Directed by Bronwen Hughes A recreation of the inspiring life story of the late photojournalist, artist and activist Dan Eldon, who abandoned a comfortable life in London to document the struggle, heartbreak and hope of a war-torn and famine-ridden region of Africa. Forever Pure Directed by Maya Zinshtein Filmmaker Maya Zinshtein embeds herself inside the locker room of Jerusalems Beitar football club, which became a flashpoint for controversy in 2012 when the signing of two Muslim players brought down the racist wrath of the teams long-time fans. Boundaries Directed by Chloe Robichaud Contemporary World Cinema A tiny island nation off Canadas east coast enters the global arena when its natural resources become the focal point for international wheeling, dealing and politicking, in this energetic political satire from Quebec director Chloé Robichaud (Sarah Prefers to Run. Strange Weather Directed by Katherine Dieckmann Academy Award winner Holly Hunter stars in this poignant drama about a grieving mother who travels the backroads of the Deep South to settle a score. The War Show Directed by Obaidah Zytoon, Andreas Dalsgaard A Syrian radio DJ documents the experiences of herself and her friends as their dreams of hope and liberation in the wake of the 2011 Arab Spring give way to the grim realities of repression, forced emigration and extremism. Busters Mal Heart Directed by Sarah Adina Smith A troubled man (Mr. Robots Rami Malek) on the run recalls the mysterious events that brought him to his present fugitive state, in the enigmatic, elliptical and moving second feature from director Sarah Adina Smith (Midnight Swim. An alternately hilarious and mortifying comedy about the fraught relationship between a repressed corporate consultant and her incessantly prank-playing dad. 3 Way (Not Calling) Directed by Molly McGlynn Mel talks her boyfriend into a threesome on the eve of a milestone birthday — and they get involved with a Tinder-fatigued millennial who wants in on the comforts of their relationship. 3-Way (Not Calling) cleverly and comically exposes the flip-flop of eros and domesticity. A Death in the Gunj Directed by Konkona Sensharma Award-winning actor Konkona Sensharma makes her feature debut as a writer-director with this coming-of-age story about a shy young Indian student who quietly and fatefully unravels during a family road trip. A Funeral for Lightning Directed by Emily Kai Bock Seven months pregnant and stuck in a sleepy corner of Tennessee, a young woman begins to see through the promises made by her charismatic husband. Every moment of Emily Kai Bocks quietly wrenching film is infused with emotions both light and dark. Directed by Andrea Arnold Acclaimed filmmaker Andrea Arnold (Fish Tank, Wuthering Heights) won the Jury Prize at Cannes for her first film set in America, about a crew of hard-partying teenagers criss-crossing the Midwest while working as travelling magazine salesmen. And the Whole Sky Fit in the Dead Cows Eye In this poetic magic-realist tale, 85-year-old Emetria has an encounter with the ghost of her former employer. Contrary to her expectations, he hasnt come to escort her to the beyond; he has other plans. Then again, so does she. Anna Directed by Or Sinai On a hot, sticky day in the desert, Anna goes looking for a man. This Cannes Cinéfondation First Prize winner spins a deeply sensual tale of lust and love, and of a woman who discovers the difference between the two. Battalion to My Beat Directed by Eimi Imanishi A restless and rebellious teen girl feels confined by the restrictive duties of daily life in a Saharawi refugee camp — and runs away to join the army, seeking to liberate both her people and herself. Beauties of the Night Directed by Maria Jose Cuevas A captivating group portrait of iconic showgirls who enthralled thousands during the disco-era heyday of Mexicos burlesque culture. Below Her Mouth Directed by April Mullen One of the boldest and sexiest dramas of the year, the new film by Canadian actor-director April Mullen (Dead Before Dawn) tells the story of an unexpected romance between two women whose passionate connection changes their lives forever. Black Head Cow Directed by Elizabeth Nichols A bright student in a Maasai village learns that her arranged marriage to a much older man is imminent. Written by students in rural Tanzania, Black Head Cowintelligently outlines the pressures of traditional expectations. Blind Sun Directed by Joyce A. Nashawati During a scorching Greek summer, a stranded foreigner finds himself in a bureaucratic purgatory as he tries to retrieve his residence permit, while the crushing heat threatens to send him over the edge into paranoia and madness. Cleo Directed by Sanja Zivkovic When Cleo goes to buy a cellphone she saw advertised on Craigslist, she keeps her guard up, unsure of her new surroundings — and of the anonymous sellers motives — in this surprisingly tender urban drama. Dadyaa Directed by Pooja Gurung, Bibhusan Basnet In their remote village, haunted by memories, Atimaley and Devi find themselves faced with a dilemma when a dear friend leaves without saying goodbye. Daughters of the Dust Directed by Julie Dash A landmark in the history of American independent cinema, Julie Dashs masterpiece was the first American feature directed by an African American woman to receive a general theatrical release. Four Faces of the Moon Directed by Amanda Strong This intricate stop-motion animation interlaces Canadas colonial past with writer-director Amanda Strongs personal family history — and illuminates Cree, Métis, and Anishinaabe reclamation of culture, language, and Nationhood. Home Directed by Fien Troch Challenging our notions of cinema for young adults, the new film from Belgian director Fien Troch (Kid, Unspoken) is a daring and nuanced exploration of three troubled teenagers relationships both with each other and the adult world around them. Import Directed by Ena Sendijarevic A family of Bosnian refugees must try to make sense of life in their small Dutch village. The sly observation of this comedic short reveals the Kafkaesque illogic of the immigration process. Layla M. Directed by Mijke de Jong Radicalized by her adopted countrys anti-Muslim measures, a Moroccan teenager marries a devout jihadist and leaves Amsterdam to join an Islamist cell in the Middle East — only to discover that her new community has its own restrictions and prejudices. Next Directed by Elena Brodach After rising from the bed where her nude lover still sleeps, a woman rearranges her apartment into a mysterious tableau vivant. Artistry and elegance distinguish this nocturnal vignette by Moscows Elena Brodach. Nothing about Mocassins Directed by Eden Mallina Awashish Director Eden Mallina Awashish struggles to understand why her grandmother refuses to allow her to shoot a film about moccasins. Her failed attempt turns into a playful deconstruction of cultural loss, a record of the resolve to protect Atikamekw tradition. Nutag Directed by Alisi Telengut During World War II, the Kalmyk people of the Soviet Union were forcibly relocated to Siberia, and nearly half of them died before the return home some 14 years later. This magnificently hand-painted visual poem is a heart-wrenching lament expressing loss and longing. Red of the Yew Tree Directed by Marie-Helene Turcotte A pheasant hunt becomes a spellbinding elemental odyssey in animator Marie-Hélène Turcottes visionary rendering of femininity and intuition. Sevince Directed by Suheyla Schwenk Peri, a Turkish housewife and mother living behind the veil in Germany, is stunned when her husband brings home news that will uproot the family yet again. Restricted as she is by her daily routine, Peri has nonetheless found a sliver of pleasure in this new, Western life, and she is loath to let go of it. Shahzad Directed by Haya Waseem Shahzad is a young Pakistani boy recently arrived in Canada. The friendships he strikes up with his new, easygoing buddies seem in sharp contrast to his rigid relationship with his father… until Shahzad discovers what lies beneath the formality. Small Fry Directed by Eva Michon A car ride gets bumpier for an American teenager trying to bond with her dad while visiting him in Poland. This tightly controlled, consistently surprising two-hander by Torontos Eva Michon makes the most of a breakout turn by Lucia Santina Ribisi and a hard-rocking musical interlude. Snip Directed by Terril Calder In this richly layered stop-motion animation, Annie and Gordon travel through a portal in time to help two children escape the horrors of residential school. Written and narrated by award-winning author Joseph Boyden, Snip is a potent indictment of Canadas residential school policy and its profound impact on young Indigenous people. Standby Directed by Charlotte Regan Gary and Jenny share the same cramped “office space” as all beat cops: the front seat of a patrol car. Their evolving relationship is an emotional rollercoaster ride that stands in often-comedic contrast to the procession of thugs and criminals filling the back seat. Submarine Directed by Mounia Akl Lebanon, 2017: a garbage crisis has led to terrible health threats, and acid rain triggers a towns evacuation. But while Hala refuses to leave, she doesnt want to be left alone either. Summer Camp Island Directed by Julia Pott For anyone whos ever dreamed of owning talking pyjamas, no other selection at TIFF 2016 will elicit more giddy joy than the first episode of Julia Potts forthcoming Cartoon Network series. Glitter glue, singing marshmallows, and dance contests figure prominently in Potts gloriously askew take on adolescence at its most awkward. The Road to Webequie Directed by Tess Girard, Ryan Noth A mining company has promised to create opportunities for the remote Webequie First Nation. Through the eyes of three youths facing an uncertain future, this observational yet expansive documentary shows the struggles — and hopes — of a community confronting challenges that many Canadians will never experience. The Smoke Directed by Rebecca Addelman In this hilariously acerbic slice of middle-age malaise, a woman returns to her hometown for a Bat Mitzvah and becomes stuck in the abyss of mortification that only family can deliver so well. Directed by Mia Hansen-Love A delicate and affecting tale about a middle-aged professor whose carefully structured life is thrown into disarray when her husband leaves her for another woman, and who finds an unlikely new companion in a former student and radical young communist. Transition Directed by Milica Tomovic Jana prepares to leave her family for a new life across the Atlantic. But her carefully crafted plans cant cover up the secrets she has so expertly kept hidden from her family, and the façade is in danger of crumbling. Trespass Directed by Mirrah Foulkes A woman walking her dog alone in the forest finds company she didnt expect and an enigma she cant comprehend. Trespass is a thriller about the nature of sympathy… and the merits of keeping your pet on a leash. Tshiuetin Directed by Caroline Monnet A trip on an Indigenous-owned train line in northern Québec, shot in exquisite black and white, becomes an eloquent symbol of the pride and dignity that come with autonomy. Untitled, 1925 Directed by Madi Piller Evincing formal echoes of Bruce Baillie, Madi PillersUntitled, 1925 is a personal, experimental travelogue that traces the voyage of Pillers grandfather through the highlands of Peru. Werewolf Directed by Ashley McKenzie The hardscrabble existence of two homeless, twentysomething drug addicts is portrayed with sensitivity and brutal honesty in the debut feature by Ashley McKenzie. Wild Skin Directed by Ariane Louis-Seize In this adaptation of a story by Quebec writer Fannie Loiselle, a solitary womans encounter with a baby python triggers a remarkable process of transformation and liberation. Fuelled by Marilyn Castonguays mesmerizing performance, Ariane Louis-Seizes film is both sensual and surreal. Your Mother and I Directed by Anna Maguire Julia Sarah Stone (a TIFF 2014 Rising Star) and the one and only Don McKellar are in top form, playing a skeptical daughter and her impressively loquacious father, in Anna Maguires funny and poignant adaptation of a Dave Eggers story. Familiarize yourself with 22 talented woman filmmakers through 22 dazzling films, all available to screen via Netflix Streaming. WIF staff member Morgan Greens list of #52FIlmsByWomen Thank you for your pledge! Gayle Nachlis is the Senior Director of Education at Women In Film. Check out her growing list of #52FilmsByWomen! On August 25, 2016, Fox Global Directors Initiative announced its 16 Director Fellows for its comedy and drama apprenticeship program. Three of the fellows selected are Women In Film members: Rachel Goldberg, Alexis Korycinski, and Yoko Okumura. All three of these women are part of WIFs mentoring program, and also directed shorts selected for Women In Films Member Shorts Night at the West Hollywood Library early this year. We are so pleased to congratulate their hard work and talent! Meet the fellows! Women In Film was a really great resource for me, especially while bridging my life as a AFI directing fellow into an active industry professional. The screenings, mentorship programs and opportunities for exposure were really nice to have while transitioning. —Yoko Okumura, Comedy Fellow Women in Film is an amazing organization that surrounds me with so many supportive, talented and pioneering women in the industry. I am grateful for the friendships I have made and it is an honor to be in the Fox Global Directors Initiative with so many incredible directors including fellow WIF members, Yoko Okumara and Alexis Korycinski! —Rachel Goldberg, Drama Fellow I began my career over ten years ago in Los Angeles making coffee runs, picking up dry cleaning, etc… The perk? Being surrounded by talented people. Finding people to inspire and push your career is one of the keys to creativity. Find those people who think big and are investing in their development with as much enthusiasm as yourself. Women in Film is an organization full of talented women in all stages of their careers and has provided meaningful opportunities. Whether searching for a mentor, collaborator, feedback or just trying to open some new doors, Women in Film is a space to create and grow. —Alexis Korycinski, Drama Fellow Jennifer Phang, director of Advantageous, was also selected as a directing fellow. Phang appeared on Women In Films directing panel in February of this year. Women In Film Los Angeles members selected for The Fox Global Directors Initiative include Alexis Korycinski, Yoko Okumura. Rachel Goldberg. Jennifer Phang, who appeared on our directors panel earlier this year, was also selected. A dedicated cinematographer and visual creative storyteller for documentaries and narrative films. Portfolio: – Email: Dynamic storyteller, to direct documentaries, fiction, episodic, so forth. In addition available to produce, write and edit. I am always excited to be involved with excellent projects. My last feature premiered at TIFF and was released in theaters, TV and Netflix. Bulgarian filmmaker. 2015 WIF Grantee] Ralitza Petrova took home the grand prize from the Swiss festival. The 69th Locarno International Film Festival has wrapped up after a successful two weeks that showed 279 films at the Swiss event. This year, the international lineup gave voice to a number of new female filmmakers. Of the 17 world premieres in competition for the main prize, eight were directed by women. The international jury, led by Mexican director Arturo Ripstein, recognized one of those titles, giving Bulgarias Ralitza Petrova the Golden Leopard for her first feature, Godless. The film was well reviewed among international critics for revealing the underbelly of Bulgarias crime circuit. The pics lead Irena Ivanova also took home the best actress award for her performance as Gana, a drug-addicted nurse to the elderly who sells identity cards with her boyfriend on the black market. READ MORE ‘The Ornithologist (‘O Ornitologo) Locarno Review Scarred Hearts, inspired by the 1937 Max Blecher novel and directed by Romanian helmer Radu Jude, picked up the special jury prize. And Portuguese art house filmmaker Joao Pedro Rodrigues won best director honors for The Ornithologist, a contemporary retelling of Saint Anthony of Lisbon. The Hollywood Reporters review said the film “puts the ‘vision in visionary. ” Andrzej Seweryn received the nod for best actor for The Last Family; Tizza Covis Mister Universo took home a special mention prize. In the “Filmmakers of the Present” section, the jury, led by director Dario Argento, awarded Eduardo Williams with the Golden Leopard for The Human Surge, an exploratory film following young characters across Buenos Aires, Maputo and Mozambique. The special jury prize went to The Challenge by Yuri Ancarani; Japans Mariko Tetsuya won the best emerging director prize; and a special mention went to Kiro Russo for Viejo Calavera. The festivals public prize went to Cannes Palme dOr winner I, Daniel Blake by Ken Loach. And the award for best first feature went to The Future Perfect by Nele Wohlatz of Argentina. Audience attendance for the festival was high, in line with previous editions. Highlights included 8, 000 people filling the Piazza Grande to see award honorees including Harvey Keitel and Bill Pullman. “This, the 69th edition, gambled on a number of fronts — from a more adventurous program on the Piazza to the competitions that gave pride of place to young filmmakers, ” concluded artistic director Carlo Chatrian. “The positive response, from both audiences and critics alike, has encouraged us to continue with this approach. ” Chatrian is confirmed to lead the festival through 2020. READ MORE Locarno Film Fest Finds Voice With Female-Centered Lineup FACEBOOK TWITTER EMAIL ME PRINT Ariston Anderson ARISTON ANDERSON aristonla by Taboola Sponsored Links From the Web Discovering Open Source In The Most Unlikely Places Microsoft Now You Can Track Your Car Using Your Smartphone Trackr Bravo I Dumped My Pharmacy When I Found This Out Phil Better hearing. 30 days. Guaranteed. COMMENTS Court Five was founded by former New Line Cinema executives Fleming and Ordesky, who were responsible for more than 60 films while at New Line and Fine Line Features. Ordesky was executive producer on The Lord of the Rings trilogy, spending five years supervising all elements of development, production and post in New Zealand with filmmaker Peter Jackson. As Court Five, Fleming and Ordesky have produced three feature films, as well as the reality/scripted television series  The Quest. Constantin Films credits include the Resident Evil franchise as well as the TV series Shadowhunters. Constantins Robert Kulzer, who is a writer-producer, noted that “Marks impeccable taste from Shine to The Lord of the Rings and Janes creative and business acumen make them a perfect new ally for Constantin Film to create branded entertainment in film and television. ” Taraji P. Henson, Natalie Dormer and Lesli Linka Glatter are set to receive top honors at the 2016 Women in Film Crystal + Lucy Awards fundraiser dinner June 15 at the Beverly Hilton Hotel in Beverly Hills. The annual benefit gala advocates gender parity for women throughout the industry, and this years theme “Designing Change” will highlight the organizations year-round commitment to design and promote initiatives and programs that will continue to increase opportunities for women on and off screen. Henson, who is a Golden Globe-winning and Emmy-nominated actress for her lead role as Cookie Lyon on Foxs “Empire, ” is the recipient of the Lucy Award for Excellence in Television; “Game of Thrones” star Dormer will receive the Women In Film Max Mara Face of the Future Award, presented by Max Mara Global Ambassador, Nicola Maramotti; and Lesli Linka Glatter will be honored with the BMW Dorothy Arzner Directors Award. CLICK HERE TO BUY TICKETS 2016s Crystal + Lucy Awards will take place the evening of June 15. Click here for tickets. For sponsor packages and tables, call Levy, Pazanti & Associates at 310-201-5033. Find table and sponsorship options here. 2016 Crystal + Lucy Honorees DENISE DI NOVI – LIANNE HALFON – LYNDA OBST – JANE ROSENTHAL – PAULA WAGNER and former Crystal honorees including LAUREN SHULER DONNER – LUCY FISHER – PAULA WEINSTEIN The Crystal Award for Excellence in Film TARAJI P. HENSON The Lucy Award for Excellence in Television LESLI LINKA GLATTER The BMW Dorothy Arzner Directors Award NATALIE DORMER The Women In Film Max Mara Face of the Future Award HYLDA QUEALLY The Sue Mengers Award Hosted By Chris Parnell Chris Parnell was a cast member of Saturday Night Live from 1998-2006. He was a part of some memorable sketches playing characters like “Merv the Perv, ” “Tyler” from “Appalachian Emergency Room, ” a Centaur, and the lead singer in what has come to be known as “The Cowbell Sketch. ” He did various impressions including Tom Brokaw, Senator Joe Lieberman, Bert Convy and Eminem. He also appeared in many commercial parodies including “Wade Blasingame Attorney At Law“ and “Mom Jeans”, and several popular digital shorts including “Lazy Sunday” and “The Natalie Portman Rap”. Currently, Chris is the voice of “Cyril Figgis” on the FX animated spy comedy, Archer, the voice of “Jerry” on Adult Swims animated sci-fi comedy, Rick and Morty, and the voice of Mr. Peabody on DreamWorks TV Animations new animated series The Mr. Peabody & Sherman Show for Netflix. Most recently, he can be seen in Amazons new pilot Highston as “Wilbur Liggetts”, from the Little Miss Sunshine duo Jonathan Dayton & Valerie Farris, and the Adam Sandler feature for Netflix, The Ridiculous 6. Last year, he appeared on Brooklyn Nine-Nine, Comedy Centrals Drunk History and Childrens Hospital, as well as IFCs Comedy Bang! Bang! Another Period, and The Spoils Before Dying. Parnell is well known for his role as “Fred Shay” on Suburgatory, and his recurring role as “Dr. Leo Spaceman” on 30 Rock. Parnell also appeared in the Gary Sanchez/Judd Apatow/Paramount sequel, Anchorman 2: The Legend Continues, and the Judd Apatow/Universal Pictures feature, The Five Year Engagement. Past film work includes 21 Jump Street, Walk Hard: The Dewey Cox Story, Hot Rod and Anchorman: The Legend of Ron Burgundy. Parnell had his feature film debut in 1996 in Jingle All the Way, playing a toy store salesman opposite Arnold Schwarzenegger. Women In Films highest profile event is the annual Crystal + Lucy Awards.  These Awards honor women and men who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. The event is traditionally a sold-out, star-studded evening and is covered by international media.  We award a Crystal (excellence in features) Lucy (excellence in television) and MaxMara Face of the Future Award (actress who has reached a turning point through her work and contributions to the community. Additionally, we present one or more of the following awards: The BMW Dorothy Arzner Directors Award, The Norma Zarky Humanitarian Award,  The Tiffany & Co. Bruce Paltrow Mentorship Award and the newly inaugurated Sue Mengers Award (for excellence in artist representation. Be An Angel Here is a simple way to support Women In Films extraordinary programs. Your name, and the names of your friends and family, can appear on our website and the “Angel Pages” of the Tribute Book for our Crystal + Lucy Awards ceremony, which takes place this year on Wednesday, June 15, 2016 The Beverly Hilton For a 100 contribution, you can have one personal (no businesses) name listed on the Angel Pages. Couples can list their names on one line for 150. We will also accept “In Honor of…” or “In Memory of…” listings. Click here to donate today. Donations are fully tax deductible. If you referred a by a member of the Women In Film Board, be sure to mention their name when you submit your donation. Thanks for your support. Awards Retrospective THE CRYSTAL AWARDS 2015 Nicole Kidman 2014 Cate Blanchett 2013 Laura Linney 2012 Viola Davis 2011 Annette Bening 2010 Donna Langley 2009 Jennifer Aniston 2008 Diane English & The Ensemble Cast of The Women 2007 Renée Zellweger 2006 Lauren Shuler Donner, Jennifer Lopez, Diane Warren 2005 Sandra Bullock & Gesine Prado, Jamie Foxx, Jaime Rucker King & Nina Shaw 2004 Gwyneth Paltrow 2003 Debra Hill, Nina Jacobson, Diane Lane 2002 Halle Berry, Laura Ziskin 2001 Glenn Close, Whoopi Goldberg, Amy Pascal, Juliet Taylor 2000 Barbara Boyle, Jessica Lange, Nikki Rocco 1999 Drew Barrymore, Amy Heckerling, Marcia Nasatir, Paula Weinstein 1998 Lucy Fisher, Gale Anne Hurd, Meryl Streep 1997 Goldie Hawn, Diane Keaton, Bette Midler 1996 Angela Bassett, Jodie Foster, Audrey Hepburn (Posthumously) Anjelica Huston, Buffy Shutt, Kathy Jones 1995 Kathleen Kennedy, Meg Ryan, Sharon Stone, Alfre Woodard 1994 Nora Ephron, Polly Platt, Joan Plowright, Susan Sarandon 1993 Julie Andrews, Kay Koplovitz, Michelle Pfeiffer 1992 Maya Angelou, Diahann Carroll, Martha Coolidge, Lily Tomlin 1991 Ruby Dee, Penny Marshall, Jessica Tandy 1990 Marcy Carsey, Jean Firstenberg, Lee Remick 1989 Dawn Steel, Susan Stratton, Fay Wray 1988 Suzanne De Passe, Lee Grant, Loretta Young 1987 Dorothy Jeakins, Renée Valente, Ann-­Margret 1986 Marilyn Bergman, Marion Dougherty, Sally Field 1985 Lina Wertmuller, Meta Wilde, Elizabeth Taylor 1984 Mary Tyler Moore, Brianne Murphy (ASC) Barbra Streisand 1983 Margaret Booth, Bette Davis, Ruth Gordon 1982 Dede Allen, Jay Presson Allen, Cicely Tyson, Hannah Weinstein 1981 Verna Fields, Jane Fonda, Sherry Lansing 1980 Carol Burnett, Fay Kanin, Kathleen Nolan 1979 Lillian Gish, Barbara Schultz, Ethel Winant 1978 Lillian Gallo, Pauline Kael, Shirley MacLaine 1977 Lucille Ball, Nancy Malone, Eleanor Perry, Norma Zarky THE LUCY AWARDS 2015 Jill Soloway 2014 Kerry Washington 2013 The Women of Mad Men: Christina Hendricks, January Jones, Elisabeth Moss, Jessica Paré, Kiernan Shipka 2012 Bonnie Hammer 2011 Nina Tassler 2010 Courteney Cox 2009 Holly Hunter 2008 Salma Hayek 2007 Shonda Rhimes and the Women Of Greys Anatomy 2006 Geena Davis 2005 Debra Messing & Megan Mullally 2004 Blythe Danner 2003 Gail Berman­, Stockard Channing, Sheila Nevins, Lily Tomlin 2002 Rosie ODonnell, Anne Sweeney, Tyne Daly & Amy Brenneman 2000 Marcy Carsey, Phyllis Diller, Creators and Cast of HBOs If These Walls Could Talk and If These Walls Could  Talk 2: Jane Anderson, Cher, Ellen Degeneres, Anne Heche, I. Marlene King, Susan Nanus, Nancy Savoca, Sharon Stone, Suzanne Todd, Jennifer Todd, Michelle Williams 1999 Norman Lear & Bud Yorkin, Camryn Manheim, Cast of HBOs Sex and the City: Sarah Jessica Parker, Kim Cattrall, Kristin Davis, Cynthia Nixon 1998 Diahann Carroll, Kay Koplovitz, Barbara Walters, Shari Lewis (Posthumously) 1997 Carol Burnett, Roseanne, Jean MacCurdy 1996 Garry Marshall, Marlo Thomas, Angela Lansbury, Madelyn Pugh Davis 1995 Tracey Ullman, Elizabeth Montgomery (Posthumously) Imogene Coca, Fred Silverman, Brianne Murphy 1994 Linda Bloodworth­-Thomason, Gary David Goldberg, Susan Lucci The MAX MARA FACE OF THE FUTURE AWARD Each year, Max Mara CEO Nicola Maramotti presents this award to an actress who has reached a turning point in her professional career, a talented actress with great personal style. 2015 Kate Mara 2014 Rose Byrne 2013 Hailee Steinfeld 2012 Chloë Grace Moretz 2011 Katie Holmes 2010 Zoë Saldana 2009 Elizabeth Banks 2008 Ginnifer Goodwin 2007 Emily Blunt 2005 Maria Bello THE TIFFANY & CO. BRUCE PALTROW AWARD The Paltrow Mentorship Award, in honor of the late director and great mentor Bruce Paltrow, is awarded to an entertainment industry professional, who in the course of their career, has shown an extraordinary commitment to mentoring and supporting the next generation of filmmakers and executives. 2015 Sue Kroll 2008 Sherry Lansing 2007 Kathleen Kennedy THE BMW DOROTHY ARZNER DIRECTORS AWARD Dorothy Arzner was the first woman member of the Directors Guild of America.  This award was established in her honor to recognize the important role women directors play in both film and television. 2015 Ava DuVernay 2014 Jennifer Lee 2013 Sofia Coppola 2011 Pamela Fryman 2010 Lisa Cholodenko 2009 Catherine Hardwicke 2007 Nancy Meyers 2006 Joey Lauren Adams, Lian Lunson, Nicole Holofcener 2003 Debbie Allen 2001 Betty Thomas 2000 Mimi Leder 1993 Barbara Kopple THE KODAK VISION AWARD This award recognizes passion, imagination, and leadership in filmmaking. It is given to cinematographers, producers, and filmmakers whose work is judged by their peers to embody artistic achievement and a commitment to excellence. For Women In Film, the Kodak Vision Award is presented to individuals who also collaborate with and assist women in the entertainment industry. The Kodak Vision Award Recipients Women In Film Crystal + Lucy Awards 2013 Rachel Morrison 2012 Anette Haellmigk 2011 Reed Morano 2010 Cynthia Pusheck 2009 Petra Korner 2008 Mandy Walker 2007 Uta Briesewitz 2006 Maryse Alberti 2005 Tami Reiker 2003 Pauline Heaton 2002 Carolyn Chen Women In Film Crystal Awards 2001 Amy Vincent 2000 Lisa Rinzler 1998 Sandi Sissel 1997 Nancy Schreiber 1996 Roxanne Di Santo Women In Film Lucy Awards 2000 Joan Churchill 1998 Liz Ziegler 1997 Judy Irola 1996 Linda Brown If youre looking for something to do this Memorial Day weekend, a new look into a campaign aims at getting more visitors to spend time in an unexpected place: the Los Angeles River. From kayaking at the Glendale Narrows, bike riding on the paths and picnicking at a nearby park, a new public service announcement gives viewers a birds-eye view of the possibilities along the LA River. 7-Year-Olds Viral Videos Draw Attention to Rare Disease In the video, a computer-generated heron goes on a visual adventure over visitors using the 51-mile long stretch for recreational activities. The bird swoops over skateboarders, greets a pair practicing capoeria, and ends with a group of teens enjoying a dip in the water. #52FilmsByWomen at LA Film Festival Women In Film is proud to share these great films by women at LA Film Festival! With a lineup including 25 woman-made films, the festival is an excellent chance to start your list of #52FilmsByWomen, one each week for a year. In fact, those who pledge to watch #52FilmsByWomen here will receive 10% off passes to LA Film Festival. Youll get your discount code when you make the pledge. Featured Film: Namour Directed by Heidi Saman & Written by Heidi Saman LA Muse Showtimes and Tickets Steven Bassem spends his evenings at an upscale restaurant among the nouveau riche elite. But hes not there to dine; hes there to park cars. An all-but-invisible valet, Steven is acutely aware of his dead-end situation and begins to act out erratically. As the bonds of his once tightly knit Arab-American family erode, Steven acts out in increasingly erratic ways, and struggles to figure out who he is and what he ought to be doing. Set in the economic recession of the late 2000s, writer/director Heidi Samans debut feature film sports a bold, sleek and nuanced visual style that pays homage to Los Angeles, while capturing the citys unique capacity for alienation as a distinctly realist backdrop to Stevens internal turmoil. Featured Film: Sensitivity Training Directed by Melissa Finell Rude, crude and unapologetic, microbiologist Dr. Serena Wolfe didnt get to where she is by playing nice. When a colleagues untimely demise is attributed to Dr. Wolfes ferocious abrasiveness, shes ordered to undergo an attitude adjustment courtesy of perpetually chipper sensitivity coach Caroline. With Caroline shadowing Serenas every move, they develop an unexpected bond, each challenging the others of the Alfred P. Sloan Production Grant and Samuel Goldwyn Writing Award, this hilarious debut feature from writer/director Melissa Finell is a fresh and welcome spin on the classic buddy comedy. Featuring an unforgettable comic turn by Anna Lise Phillips, this is a smart, tender film for anyone who has needed a little help being their “better self. ” Featured Film: Tracktown Directed by Alexi Pappas, Jeremy Teicher US Fiction Twenty-one-year-old Plumb Marigold has lived her entire life surrounded by coaches, teammates and fans as she trains to be an Olympic distance runner. Though she excels in her sport, shes always felt like an outsider, as her schedule kept a normal life of boobs and boys at bay. That all changes after Plumb is ordered to take a day off from running to recover for the finals of the Olympic Trials. Her forced downtime, including a surprise connection with a boy who works at the bakery, sets her on a path where she can finally see the full picture, one step at a time. The compelling experience of a young Olympic hopeful is heightened by the casting of numerous real-life Olympic runners — including co-writer/director and lead actor Alexi Pappas. In an impressive first-time directorial collaboration, Pappas and Jeremy Teicher offer a welcome and privileged perspective to a unique, but ultimately relatable, world. #AskHerFilm Twitter Chats Due to popular demand, we are relaunching the #AskHerFilm chats we first kicked off with The Director List as part of Womens History Month! In celebration of the relaunch we are doing a special group chat with four filmmakers premiering at LA Film Festival. Login to Twitter and follow hashtag #AskHerFilm on Thursday, June 2 from 1-2 PM PDT to chat with the directors of three films premiering at LA Film Festival: Tracktown, No Light and No Land Anywhere. The View From Tall. We will continue the chats on a monthly basis from here on out. Featured Film: Equity Directed by Meera Menon & Written by Amy Fox Buzz With an aggressive prosecutor from her past on her heels and a strained relationship with her junior prosecutor, senior investment banker Naomi Bishop is forced to reexamine her own ambitions and the cutthroat world she loves—one where the glass ceiling is yet to be broken. Meera Menons suspenseful sophomore feature can be considered the first female-focused Wall Street drama, with solid performances by Breaking Bads Anna Gunn and Alysia Reiner that embody the inimitable protagonists enabling the power structures of Wall Street in the post-financial crisis. Keep scrolling for a complete list of films by women at LA Film Festival! Caring Directed by Maggie Kiley & Written by Erin Wagoner Web Series This is a story about nannies and the moms that pay them. Its a story about being a woman and caretaker and mother and the constant tug-of-war between kids and dreams and money and ovaries and eggs and sex and careers and goals and major disappointments. Company Town Directed by Natalie Kottke-Masocco, Erica Sardarian Documentary What do you do when the company you work for is making you sick? Privately owned by billionaire brothers Charles and David Koch, Georgia-Pacific is one of the worlds largest pulp, paper and chemical manufacturers—and is a massive environmental polluter. In Crossett, Arkansas, Pastor and Deputy Sheriff David Bouie has had enough. He and his neighbors are sick; breathing with respirators, dying of cancer and demanding that Georgia-Pacific and Koch Industries take responsibly for decades of negligence and countless lives lost. After spending years gaining the trust of the people in Crossett, first-time directors Natalie Kottke-Masocco and Erica Sardarian have crafted an inspiring David and Goliath story about community resiliency that is told as an engrossing investigative tale full of heart and sincerity. Dr. Feel Good Directed by Eve Marson Dr. William Hurwitz was sentenced to 25 years in prison for drug trafficking. Considered by many a preeminent pain specialist, Hurwitz had no moral qualms about prescribing as many opiates as his patients needed in order to fight their chronic pain and live normal lives. Placed within a larger historical context regarding the use and legality of opiates, first-time director Eve Marson presents a remarkably even portrait of a man who dared to challenge the established norms for pain treatment. Despite testimonies about how his prescriptions created life-shattering addictions, and in some cases death, Hurwitz is unabashedly firm in the face of intense criticism about the ethics of his former practice from the families of former patients, other medical professionals and even his own family Equity Free CeCe! Directed by Jacqueline Gares & Written by Laverne Cox, Jacqueline Gares Limelight On her way to the store with a group of friends, Chrishaun Reed “CeCe” McDonald was attacked. While defending her life, a man was killed. After a coercive interrogation, CeCe was incarcerated in a mens prison in Minnesota. An international campaign to free CeCe garnered significant support from media and activists, including actress and executive producer Laverne Cox. Cox used this platform to explore the roles race, class and gender played in CeCes case. CeCe emerged not only as a survivor, but also as a leader. Documentarian Jac Gares pushed past everyday narratives of victimhood that surround the lives of transgender people, to spotlight the way CeCe and other trans people are leading a growing movement to critically interrogate and disassemble the prison industrial complex. Fridays Directed by Anna Kerrigan & Written by Shoshannah Stern, Josh Feldman A dramedy about Kate and Michael, two best friends who are deaf, as they try to navigate their friendship through new changes in their lives: Kate is newly married and Michael is newly single Girl Flu Directed by Dorie Barton Bird is mature for her age, a thoughtful sixth grader who dreams of doing the grocery shopping so that all food groups are represented, but whose emotional wisdom starts to slip when her body begins to develop. After her first period arrives in an embarrassingly public way, Bird turns to her single mother for guidance; however, her mom is a flighty stoner who finds this milestone just as befuddling as her young daughter. Already frustrated by their recent move to Echo Park from the Valley, Bird wishes everything would start making sense again. First-time director Dorie Barton sets a lighthearted backdrop for this mother and daughter twofold coming-of-age story, offering a sweet perspective on a universal, yet underrepresented experience. Heis Directed by Anaïs Volpé & Written by Anaïs Volpé World Fiction One of many millennial causalities of Europes stagnant economy, 25-year-old Pia seeks a fresh start and returns home to live with her Syrian mother and twin brother. Confronted by her brothers cynical disapproval and her mothers unfulfilled dreams, Pia becomes motivated to finally take charge of her life. Anaïs Volpés confident debut explores the emotional and existential state of contemporary youth with an exciting style thats reminiscent of French New Wave but informed by the fragmented energy of todays digital generation. This daring visual structure, paired with Volpés self-reflective questioning as Pia, beautifully represents the concerns of millennials striving for autonomy in a time of economic and societal uncertainty. Volpé, as writer, director and star, presents a fresh new voice that invites us to question what we want and rediscover ourselves Her Story Directed by Sydney Freeland & Written by Jen Richards, Laura Zak Violet and Paige are two transgender women in Los Angeles who have given up on love—until chance encounters give them renewed hope. Instababy Directed by Rosie Haber & Written by Lauren Cioffi Gay adoption is illegal in Mississippi, so Toni and Keeta look for a baby on Instagram. Jackson Directed by Maisie Crow An impassioned pro-life activist, an earnest director of a womens health clinic and a marginalized single mother form the basis of this unforgettable film chronicling Mississippis push to ban abortion and the subsequent consequences for women in the nations most impoverished state. A powerful snapshot of modern American life in the South, documentarian Maisie Crows debut feature is an unflinching look at the politics of reproductive rights at Mississippis last remaining abortion clinic. With astonishing access to all sides of the issue and presenting multiple points-of-view, Crow crafts an emotionally searing portrait of a government determined to abolish abortion access by any means necessary and the toll on the lives of women and families caught in the crossfire. Jean of the Jonses Directed by Stella Meghie & Written by Stella Meghie The life of 25-year-old Jean Jones, part of a multi-generational, middle-class Jamaican American family of strong-minded women, comes to an arresting stop when her estranged grandfather dies on the doorstep of the familys brownstone during Sunday dinner. Tensions rise at the funeral as the Jones women face their divorces, infidelities and past transgressions. While uncovering the familys buried secrets, Jean faces the tough truths of her failing career and her crippling inability to move on from a past relationship to the love that is staring her right in the face. Stella Meghie delivers real black girl magic in her directorial and writing debut. Jean of the Joneses is a welcome breath of fresh air, offering a new modern depiction of Black family life anchored in the firm, albeit complicated, relationships of these dynamic women. Like Cotton Twines Directed by Leila Djansi & Written by Leila Djansi Micah, an American volunteer who takes a teaching job in a remote Ghanaian village, has great expectations for his mothers homeland. He is enthusiastic and eager to help his students fulfill their potential, especially Tuigi, a bright 13-year-old girl. But Tuigis family must atone for a deadly accident committed by her father and, according to religious custom, Tuigi must abandon her education and be offered as a sex slave. Clinging to his Western moral senses, Micah pits himself in a battle against tribal culture and the state. Writer/director Leila Djansis feature is as ambitious as it is haunting, infuriating and ultimately hopeful. Courageous performances by Yvonne Okoro and Ophelia Dzijornu are certain to generate conversations that will continue well after the ending credits. Namour No Light and No Land Anywhere Directed by Amber Sealey Grieving her mothers death and her own failing marriage, Lexi boards a plane from London to Los Angeles in search of the estranged father who abandoned her when she was three years old. Based out of a seedy Hollywood motel, she follows a tenuous trail of breadcrumbs, collecting numbers and addresses in the hopes that one will lead to her father, while establishing unexpected connections along the way. A stranger in the City of Angels, Lexis reckless searching leads to cautious discoveries in this atmospheric and introspective quest. LA Film Festival alum Amber Sealeys third film is an assured exploration of the ties that bind us to (and unbind us from) the people we love and to the people we wish would love us back. Olympic Pride, American Prejudice Directed by Deborah Riley Draper Before defiant fists were raised in protest at the 1968 Summer Olympics, 18 African American athletes paved the way for future generations by competing in the 1936 Summer Games in Berlin. History has placed Jesse Owens on his own pedestal, but Deborah Riley Drapers debut feature film sheds light on the cumulative work of 17 other Black athletes and their journey from Americas attempted boycott of the 36 Olympics, to the trials, competition and the athletes unceremonious return home. The courage and success of these men and women sparked pride among the African American community, as they defied both the institutional racism of Jim Crow America and the Nazi doctrine of Aryan supremacy. Their camaraderie and collective action was a critical step towards the Civil Rights Movement. Compelling footage is paired with interviews from athletes, experts and surviving family members who share an important story that was almost lost to history. Out of Iraq: A Love Story Directed by Eva Orner, Chris McKim How far would you go to be with the love of your life? In 2003 in the midst of war, in a country where homosexuality is banned, two Iraqi men meet by chance and fall in love. Nayyef, a translator for the U. military, and Btoo, a soldier in the Iraqi army, face persecution—and possibly death—if they stay in their homeland. After obtaining a visa, Nayyef leaves his love behind, settling in Seattle with a determination to one day reunite with Btoo in a place where they can express their love freely and without fear. Directors Eva Orner and Chris McKim tell the story of this audacious journey of love, sacrifice and courage with a heartwarming and energetic style. Paint It Black Directed by Amber Tamblyn Josie is a young woman struggling to cope with the tragic death of her boyfriend. In the aftermath of his death, she finds herself both repelled and attracted to his pianist mother, Meredith, who holds Josie responsible for her sons passing. The two women are drawn into a twisted relationship raging with equal parts distrust and blind need as they become consumed with each other while trying to navigate life without the one they love. Adapted from the eponymous book by Janet Fitch, Amber Tamblyns impressive directorial debut is visually decadent, elaborately reflecting the intensity of her characters spiraling emotional states. Commanding performances by Janet McTeer and Alia Shawkat make Paint It Black a startlingly visceral experience and affirm Tamblyns unique voice as a director. Play the Devil Directed by Maria Govan & Written by Maria Govan Gregory, a gifted student from a working class family, is favorably positioned to win a coveted medical scholarship, and yet is secretly cultivating a desire to become a photographer. James, an established businessman, uses his wealth and access to pique the young mans latent artistic inclinations. When James cannot accept Gregorys boundaries, the relationship spirals into a fateful, carnal dance during the “Jab” (devil) play, on Carnivals Monday night. Bursting with confidence, style and vision against the lush landscape of Trinidad and Tobagos Carnival, Bahamian writer/director Maria Govans sophomore feature complicates notions of masculinity, privilege and sexuality in this nuanced, yet brutal, coming-of-age portrait that deftly thwarts any easy moral judgments of her characters actions and desires. Political Animals Directed by Jonah Markowitz, Tracy Wares & Written by Jonah Markowitz Former California state representative Sheila Kuehl says you have to be a bad girl to be in politics—and she should know. As one of the first openly gay representatives in Californias history, Kuehl endured lectures from her fellow representatives comparing gay people to cattle and pedophiles. She introduced and fought for legislation to protect Californias LGBT schoolchildren from bullying four times before it finally, barely passed. Kuehl and her fellow representatives Jackie Goldberg, Christine Kehoe and Carole Migden suffered through years of verbal abuse related to their introduction of the states first domestic partnership law, which paved the way for federal gay marriage rights. Political Animals is an inspiring portrait of four defiant women who refused to let hatred and homophobia stop them from making history and achieving legal recognition for LGBT people throughout California and the United States. Sensitivity Training Tracktown “ The View From Tall Directed by Erica Weiss, Caitlin Parrish & Written by Caitlin Parrish Justine is like many 17-year-olds who struggle in high school: She is smart but unpopular, her parents dont understand her and even her sister pretends not to know her in public. What sets Justine apart is that the entire school is aware of her recent sexual relationship with a teacher. Feeling both visible and ignored to uncomfortable degrees, she is mandated to see a therapist, Douglas, a disabled man with demons of his own. Justine finds a sympathetic ear in Douglas, and ultimately recognizes an equally lonely kindred spirit. As the lines of propriety between them are stretched, Justine must navigate the thorny issues of age, lust and leaving adolescent life behind. First-time directors Caitlin Parrish and Erica Weiss bring their years of theatrical experience and collaboration to this unique and rare take on female empowerment on the cusp of adulthood. –Drea Clark Woven Directed by Salome Mulugeta, Nagwa Ibrahim & Written by Salome Mulugeta, Ryan Spahn, Kristin Hangg Willfully independent, Elenie Tariku is a young Ethiopian American psychologist who finds herself caught between cultural tradition and family responsibilities. When a mysterious crime takes the life of her only brother, Elenie becomes relentless in her search for the truth and learns to reconcile cultural expectations with her own pursuit of self-identity and love. First-time directors Salome Mulugeta and Nagwa Ibrahim craft an intricately layered story about our interconnected world and the richness of the immigrant experience. Woven distinctly showcases Ethiopian culture—a refreshing depiction rarely seen in American cinema. Mulugeta shines as Elenie, bringing to life the nuanced complexity of a strong, yet flawed woman demanding to forge her own way. “Youre absolutely missing something [in a room thats all men] ” Coogler recently said in a Fast Company interview. “Too often, you find yourself in a room like that. ” The key reason why Coogler works with women cinematographers, editors and more is because they bring insight that men cannot. “Everybodys a prisoner of their own perspective, ” he said. “I can only see the world through my own eyes. The last few times I made a movie, I had a cinematographer who was a woman. And my editors, one of them is a woman, and the way those two view things and give notes are radically different, and when you have that balance, its really an asset. ” Women scored fewer than 2 percent of the top 500 films in 2015, a minuscule improvement from 1 percent in 2014. To help improve those dismal stats, advocacy group Women in Film has formed a new music committee, chaired by music supervisor Tracy McKnight. The committee launched Saturday with a Los Angeles event featuring Oscar-winner Melissa Etheridge. The cocktail party, held at the private home of Disney executive Kaylin Frank and The Muppet Show composer Ed Mitchell, drew around 100 composers and songwriters, agents, music supervisors and studio executives. Submissions are now closed. In order to qualify, your film must be by and/or about women, and at the rough cut stage. We are excited to team up with Screening Room for this years submissions. Priscilla Anany, director of “Children of the Mountain” (USA, Ghana. Jury Comments: “So many of the films we had the pleasure of viewing were expertly directed and worthy of recognition. The winning director presents a fearless and heart wrenching tale of an embattled mothers high stakes journey to heal her sick child and ultimately herself. The film delicately and powerfully directs us through an emotionally resonant story that is dark for truthful reasons and simultaneously hopeful. The best new narrative director award goes to Priscilla Anany for ‘Children of the Mountain. '” Women In Film speaks with grantee Kristi Zea at the 2016 Tribeca Film Festival, where she premiered her documentary directorial debut “Everybody Knows… Elizabeth Murray. ” The Women In Film Finishing Fund supported this film in 2011. The film documents the life of the artist Elizabeth Murray, and includes readings of Murrays journals by Meryl Streep. To help WIF fund more films like this one, go to Directed, photographed, and edited by Morgan Green Thursday, May 5, 7:30 PM Pickford Center for Motion Picture Study LINWOOD DUNN THEATER 1313 Vine Street Los Angeles, CA 90028 7:30 NEW TRENDS IN FILM FINANCING Weve learned through our research that one of the most frequently cited barriers to success for women in film all surround film financing – understanding it, accessing it and succeeding with it. Weve assembled top financiers, agents, executives and producers to illuminate trends and give women the tools they need to make more films! Moderated by CATHY SCHULMAN WIF Board President & President of Production at STX JENNIFER DANA Head of Production, 3311 Productions MATT JACKSON Head of Film Production and Acquisitions, The Mark Gordon Co. RENA RONSON Partner/Head, Independent Film Group, United Talent Agency DR. ASHOK AMRITRAJ, H. C. Chairman and CEO, Hyde Park Entertainment 9:00 WINE AND CHEESE RECEPTION RSVP HERE Movies have a power like nothing else, ” says Gloria Steinem, TCM Guest Programmer for April. Growing up in Toledo, Ohio, the future journalist and political activist found filmgoing to be her “escape. ” Now recognized as an outstanding leader of the feminist movement, Steinem has recently published a memoir, My Life on the Road (2015) in which she documents her travels across the U. as an advocate for women. Steinems programming picks include Tony Richardsons A Taste of Honey (1961) “a very moving piece of life”; Blake Edwards Breakfast at Tiffanys (1961) which has about it a “sexuality and adventure” rare for a film of its time; Orson Welless Mr. Arkadin (1955) with its “irresistible story” and “raft of great actors”; and Costa-Gavrass Z (1969) “a profoundly political film. Women In Film Grantee Deb Shoval interviewed in IndieWire. Deb Shoval  was raised by her Israeli father and American mother in a Pennsylvania coal town, where she now runs an organic vegetable farm. Shovals short film “AWOL” premiered at Sundance 2011, winning awards from Kodak, Technicolor and Women in Film. (Press materials) Two organizations are combining forces to help female writers who are eager to break into Hollywood. Women In Film, Los Angeles, and The Black List are teaming up to create a television lab for female writers. The lab will take place in August, but they are on the lookout for participants right now at and. Kirsten Schaffer, executive director of Women In Film, and Franklin Leonard, founder of the Black List, join host Alex Cohen. Four years ago Sundance Institute and Women in Film Los Angeles launched an initiative to foster gender parity for women behind the camera. Our first step was to understand the root causes and hard numbers behind the paucity of American women filmmakers so we could design effective ways to improve things. The 2016 Women In Film Financing Intensive addresses these needs head-on. On May 5th, we will host an evening panel discussion on the current state of film financing with premiere financiers in todays market. The following morning, on May 6th, producers from 24 film projects in development will be invited to join us for round table discussions with expert advisors in the field, who will provide tailored feedback for their individual films. If you are a WIF Member and would like to be considered for participation in this years Intensive, please complete the application below. We look forward to having you! Four of the films premiering at 2016s Tribeca Film Festival received support from Women In Films Finishing Fund. The festival will take place in New York City April 13 – 24. If youre attending please check out these wonderful films! 2015 Grant Winners AWOL “Building from her award-winning short, writer-director Deb Shovals debut feature is a clear-eyed love story told with an assured voice and impressive attention to details of a small town life. Bolstered by two impressive lead performances from Kirke and Wool and a strong supporting cast, AWOL is a beautiful romantic drama that is both tender and tough in equal measure” Children of the Mountain “Against the picturesque Ghanaian backdrop, Children of the Mountain is an honest exploration of a mothers will in the face of much adversity. When her baby is born with a cleft lip, cerebral palsy, and Down syndrome, Essuman is led to believe that she has a ‘dirty womb. Her promising future as a wife and mother is shattered as her lover disowns her and the community eyes her with suspicion. In a Ghana of old wives tales and superstition, such deformities in the child are surely the work of the devil. As Essuman searches for a cure to her sons illness, she encounters futility at the hospitals and dubious religious leaders and medicine men. In these dire times, she oscillates between having the utmost devotion to her son and controversial attempts at self-preservation. However, in the rural mountains of Ghana—where the souls of children are said to wait—their future may contain hope. Priscilla Ananys debut feature is a thoughtful and visually-luscious film and a story of the human spirit. ” You Can Go 2011 Grant Winner Everybody Knows… Elizabeth Murray “This tribute to the dynamic artist Elizabeth Murray, an intrinsic figure in New Yorks contemporary art landscape from the 1970s until the early 2000s, highlights her struggle to balance personal and family ambition with artistic drive in a male-dominated art world. It also addresses her later battle with cancer, at the peak of her career. ” WIF Members Create (WIFMC) is a brand new committee designed to give WIF Members a platform to produce their own resources and events! Weve heard from many of you that youd like opportunities to be more involved with the organization. Wed love to have you, as well as provide the tools you need to strengthen your careers and community. WIFMC had its first General Meeting on March 24, 2016, during which our Members came up with a great first set of event ideas (events in bold currently have producers attached to them) 1. Independent Film Financing Panel 2. Producing a Sizzle Reel – Workshop 3. The Art of the Sale/Pitch Practice and Workshop 4. Pitch Session w/Executives and Buyers 5. Interactive Networking – Game Night, WIFMC Kickoff Event 6. Small Scale networking, curated guest list by profession 7. How to create an online presence – Workshop 8. Mini Creation Lab – 24 hr film project 9. Staged Reading with high profile talent/guests/speakers 10. Promotional Premiere/Mini Upfronts – screening Members scenes/trailers 11. Building an authentic audience/Branding – Workshop 12. Member film screening(s) If you werent able to attend, and are interested in submitting an event, please do so below! Events should not replicate any of the ideas above, and if selected, should be produced by the Member who proposed them. Proposals will be accepted through April 11th. Also, if you are interested in collaborating on any of the events above, please email with your request. Please note, financial support from Women In Film is not guaranteed for any event, so carefully thought out budgets will make stronger proposals. WIFMC anticipates selecting six (6) final events for production through the end of 2016, however that number may change depending on the number of worthy proposals. We look forward to your ideas! Women In Film, LA (WIF) and the Black List are excited to announce that they have joined forces to create a television lab for female writers. The inaugural Women In Film/the Black List Episodic Lab is scheduled to begin in August 2016 in Los Angeles, CA. Women In Film and the Black List have invited eight promising non-professional writers/teams who identify as women to the Lab. The Lab will run for eight weeks, with sessions once per week, and will consist of script development, workshopping sessions and Master Classes with established writers and industry executives. They represent many of televisions most experienced, talented and lauded writers, show creators, executive producers and supervising producers, including:  Cindy Chupack  (SEX AND THE CITY, MODERN FAMILY)   Mara Brock Akil  (BEING MARY JANE, GIRLFRIENDS)   Melissa Rosenberg  (JESSICA JONES, TWILIGHT Trilogy)   Glen Mazzara  (DAMIEN, THE WALKING DEAD)   Stacy Rukeyser  (UNREAL, GREEK)   Monica Beletsky  (FARGO, FRIDAY NIGHT LIGHTS)   Lauren LeFranc  (AGENTS OF SHIELD, CHUCK)   Jenn Kaytin Robinson  (SWEET/VICIOUS. Lab participants will have their final pilots read by agencies and networks. 2016 Participants Name: Erica Bardin & Susan Graham Series Title: SHEPHERDS Logline: When dedicated pharmaceutical researcher Madison Shepherds gets fired for questionable reasons, she decides to start an underground psychedelic therapy clinic with her terminally ill father and hippie best friend. They run the Shepherds Clinic from the attached garage in her parents Tucson home, unbeknownst to her mother, a Republican senator in the middle of a reelection campaign largely financed by big pharma. Name: Gesha-Marie Bland Series Title: LEGEND OF A QUEEN Logline: After the ultimate betrayal by her husband, an ambitious Queen challenges her misogynist peers and the Roman Empire to gain political power and avenge the rape of her daughters, until a final battle forces a choice between life, family and legacy. Name: Denise Jaxon Series Title: TEN MILES TO SUNSET Logline:  During 1960s Los Angeles, in the twilight of the Black Panther party and the dawn of the CRIPS, three LAPD officers with troubled lives and conflicting backgrounds battle to patrol the streets of South Central LA from their own self-righteous viewpoint while fueling the historically divisive precinct and compromising their safety on the streets. Name: Jean Lee Series Title: STRANGER PILGRIM Season 1 Title: ROBOT COURTESAN Logline: A sci fi anthology series about unlikely heroes who encounter the horrors and delights of both humanity and technology as they deal with innovations that blur the line between man and machine. Season 1 follows a subversive Pinocchio story about a man who creates the worlds most human-like robot for prostitution; only, the more he succeeds in making her human, the less control he has over her, until eventually she begins to wonder if she is capable of more… Name:  Jamie Mayer Series Title: TOMORROWLAND Logline:  The staff of a high-end Malibu rehab center try to keep their own lives together while dealing with the needs of their wealthy, often celebrity, clients. Name: Colleen McAllister Series Title: PUSSIES Logline: An animated comedy about a bunch of cats living in a cul-de-sac, confirming what we all know to be true, cats are assholes. Names: Erin Weller & Kate Heckman Series Title: FALSE FLAG Logline: When a plane full of passengers disappears, Hester Scott, CIA, tracks down her former partner to help stop the terrorists responsible. The trouble is, her partner now works for them. Name: Jeane Wong Series Title: THE THIN LINE Logline: A revisionist history series set in present-day America where segregation still exists. Finalists Name: Sarah Beckett Series Title: PLAYING DEAD Logline: A young female survivor of a violent crime-turned-vigilante killer finds solace playing bodies on crime TV shows. Name: Déjà Bernhardt-Leazer Series Title: THE HYLINE Logline: A television drama series about a Texas drill team: the dancers, their mothers and their community, as they navigate the stages and fields of ‘Girlhood. Name: Bronwen Clark Series Title: NOSH Logline: A young woman inherits an upscale Miami restaurant with dark secrets. Name: Liz Cotone Series Title: SERF Logline: Russia, 1774. Based on a true story. A young peasant idolizes the noble class, until her illusions are destroyed when Russias wealthiest aristocrat plucks her from her family to be trained for his opera. Through a forbidden romance with her new master, her elevated position empowers her to become an advocate and eventually a leader for her people. Name: Meagan Daine Series title: GONE TOWN Logline: In a conservative Midwestern town, a brilliant but troubled 15-year-old boy struggles to find sanity as pressures at school and at home push him down a dark path. Name: Jenny Deiker Series Title: BAPTISTE Logline: A young woman reluctantly returns home to small town Louisiana to run the family business. But in order to keep the balance of nature and to prevent mass disease and destruction, she has to follow in the footsteps of her forefathers and occasionally feed someone to the unseen monster haunting Bayou Baptiste. Name: Nancy Duff Series Title: DEAD DROP Logline: When her father disappears, Alexandra Sawyer follows his clues to the safety of Gilbert Hall. To outsiders, Gilbert Hall is a group home. To the GH5 Special Forces unit of the CIA, its a highly guarded safe house for orphaned offspring of the CIAs elite. Thrown into a world of international espionage, Alexandra must come to terms with the truth about her parents while training with her peers as a junior agent. Name: Melanie Holmes Series Title: HOPEWELL Logline: Set in 1955, in the (fictitious) small town of Hopewell, Mississippi, HOPEWELL is the story of a black boys murder at the hands of a white family. The series traces the long-term effects of the racially-motivated crime on the black and white families involved, and on the town of Hopewell and the nation at large, over the course of three decades Name: Jillian Lauren Series Title: HAREM Logline: A precocious suburban teenager with lofty dreams but limited street smarts gets in over her head when she trades in her bohemian New York life to become a concubine in the harem of the richest man in the world. Name: Lindsay McRae Series Title: UNITY Logline: After being banished to indentured servitude in America by Oliver Cromwell in 1650, a Scottish military commander and his men must survive seven years of oppressive ownership, wary Puritans, and the perilous work conditions of the untamed land in order to secure their freedom. Name: Kate Murdoch Series Title: OUR KINGDOM PRIMED Logline: In a grim future, where the wealthy Manhattan elite banish the underprivileged to a dangerous ghetto in Brooklyn, a young socialite struggles with integrating into her new home after her husband accepts a social working job there. Name: Erin Rodman Series Title: SUPERIOR Logline: When scholarship student Lyssa arrives at ultra-elite St. Clares Academy, it seems like a dream come true. But then the nightmares begin, and Lyssa quickly learns that her fellow students arent just there to learn, the faculty isnt just there to teach, and the school has a bigger plan for them all. Name: Paula Sabbaga Series Title: PROS AND CONS Logline: After her father is imprisoned for stealing eight billion dollars from the city of Chicago, college student CASS turns into an expert white collar criminal and alongside her equally skilled team, tries to make things right by stealing from the rich to give to the presently poor people affected by her fathers alleged actions. Name:  Dawn Spinella Series Title:  G. I. JANE Logline: Jane is the Armys poster girl for women in combat, but when her daughter is kidnapped, and shes ordered to kill a high-profile military leader, shell need the help of covert Delta Force soldiers, and every ounce of control she can muster to rescue her daughter and unravel the deadly plot. Name: Nadria Tucker Series Title: THE REPORTER Logline: Determined to free an inmate sentenced to die, a black female reporter investigates a decades-old murder case amidst the racial tensions of present-day Texas. Name: Kay Tuxford & E. Dahl Series Title: 40 ELEPHANTS Logline: 40 Elephants centers around an all-female gang of thieves in 1920s London who steal from the rich to party like movie stars and earn the seductive independence they briefly glimpsed during World War I. Name: Ursula Wendel Series Title: HEMISPHERE Logline: In this tense, stylish, sci-fi drama reminiscent of GATTACA and LOGANS RUN, a desperate man attempts to escape a dystopian, subterranean society and its authoritarian regime to the surface – where the last bastion of humanity may still exist. Name: April Wright Series Title: SOUL CITY Logline: Based on a true story.  In the early 70s, a black rights activist sets out to create a self-sustaining black community in rural North Carolina, but his idealism is compromised from the start as he has to become a Republican and support Nixons re-election in order to get funding for his dream. Name: Sarah Zucker Series Title: THE SUN SET Logline: Rival “Sewing Circles” of closeted women, the free-spirited Sun Set and the prim A-Lines, clash over sexual jealousies and differences in propriety as they strive for professional advancement in 1930s Hollywood. For the first time this year, a special award is available to female filmmakers in the My RØDE Reel  short film com petition! With over 300, 000 of prizes up for grabs, you can find out more and receive your free starter pack here, and learn more from the video below. My RØDE Reel 2016 from RØDE Microphones on Vimeo. Theres less than week left to celebrate Womens History Month, but its never the wrong time to learn more about Womens History. You can add to your list of #52FilmsByWomen with these ten films — one for each decade of the twentieth century! If you havent yet pledged to watch #52FilmsByWomen (one each week for a year) you can do it here! Madams Fantasies 1907 Directed by Alice Guy Available on YouTube The Ocean Waif 1916 Available on Amazon Prime The Blot 1921 Directed by Lois Weber Available on Netflix DVD Merrily We Go to Hell 1932 Directed by Dorothy Arzner Commandment Keeper Church, Beaufort South Carolina, May 1940 1940 Directed by Zora Neale Hurston Available at the  Library of Congress The Hitch-Hiker 1953 Directed by Ida Lupino Available on Amazon Video Smile 1968 co-Directed by Yoko Ono Seven Beauties 1975 Directed by Lina Wertmüller Salaam Bombay 1988 Available on Vimeo In 1990, I interviewed a young man to replace me as a script reader in the story department of Columbia Pictures. That man was 22-year-old John Singleton, and he couldnt care less about the reader job. Instead, he pitched me his script about three young kids in South Central called Boyz N the Hood. When I got it from his agent, I closed the door to my tiny office and read it cover-to-cover. Up until then, I had been imitating my white mentors, Amy Pascal and Dawn Steel, culling the town for “commercial” scripts. Reading Boyz N the Hood reconnected me to my roots; it blew my mind wide open. There was an entire world of stories that had yet to be told, and as one of the few black women in Hollywood, I was determined to find them. 8 Mar 2016 – Womens International Forum is pleased to present Ms. Cathy Schulman Academy Award Winning Producer and Board President of Women in Film in a talk on “Gender Equality in Hollywood”. Women In Film Finishing Fund Winners AWOL and Children of the Mountain in Tribeca Film Festivals competition slate. The 15th annual New York festival has unveiled about half the films on its 101-feature lineup, with 55 titles in total making up the competition slates and the Viewpoints section of programming… For the first time this year, the narrative competition titles have been split into U. and international categories, a move that programmers said allows them greater breadth in their selections for each. The competition for documentaries — a genre for which Tribeca has become known as a significant launching pad — includes opener “Contemporary Color, ” Bill Ross and Turner Ross concert documentary about a David Byrne concert that paired pop performers with color guard teams; Jenny Gages New York teen tale “All this Panic”; Andreas Johnsens edible insect doc “BUGS”; and Ted Brauns Herbalife expose “Betting on Zero. ” Discussions on pay inequality and gender diversity commanded the Women in Film Pre-Oscar Cocktail Party Friday night, where actresses including Jennifer Lawrence, Alicia Vikander and Patricia Arquette convened to honor 2016s 51 female Oscar nominees. Before the cocktail party commenced, Women in Film president Cathy Schulman led a toast to recognize all the 2016 Oscar nominees — who were adorned with corsages — in attendance at the gathering, and in doing so, invited “Straight Outta Compton” screenwriter Andrea Berloff, Arquette and Lawrence to share the stage. Arquette, who famously used her 2015 Oscar acceptance speech as a platform to discuss the gender wage gap, spoke about pay inequalitys effect beyond the entertainment industry and the gaps impact on the countrys poverty levels. “Pay inequality affects women so drastically in America, ” Arquette explained. “Yes, in our business, but really in 98% of all businesses. What we end up with is this: 33 million women and kids who are living in poverty, who would not be, if they were paid their full dollar. ” Ahead of entertainments most exclusive and glamorous night of the year, a new study demonstrates just how exclusive film and television can be when it comes to women, people of color and the LGBT community. The results reveal that the prequel to #OscarsSoWhite is #HollywoodSoWhite. The Comprehensive Annenberg Report on Diversity (CARD) is the first of its kind — an exhaustive analysis and ranking of film, television and digital streaming services that catalogues speaking characters, people behind the camera, CEOs and executives. Authored by professor Stacy L. Smith and released by the Media, Diversity & Social Change (MDSC) Initiative at USCs Annenberg School for Communication and Journalism, the analysis found that only 28. 3% of all speaking characters across 414 films, television and digital episodes in 2014-15 were from underrepresented racial/ethnic groups. This is 9. 6% below the U. population norm of 37. 9. One-third (33. 5% of speaking characters were female. Behind the camera, a mere 15. 2% of all directors and 28. 9% of writers across film and every episode of television and digital series were female. Less than one-quarter (22. 6% of series creators were women across broadcast, cable and streaming content. Women In Film Los Angeles has partnered with Indigenous Media on Made By Women, an incubator aimed at producing dramatic series programming written & directed by women. Indigenous Media will finance 5 short pilots from new voices with the potential to produce and fund full-length versions. A mentor will work with each selected writer through the process to help bring these projects to life. Committed Mentors: Lesli Linka Glatter (Homeland) Sarah Treem (The Affair) Betty Thomas (Private Parts) Mimi Leder (The Leftovers) and Kasi Lemmons (Eves Bayou. We will be selecting three writer/directors to recommend for Made By Women. Women In Film Members who are interested in being considered should submit a pilot treatment, writing sample, resume and personal statement via our website by February 26. Women who are not yet members may become members and submit. Application Available Here Women In Film Los Angeles has partnered with Indigenous Media on Made By Women, an incubator aimed at producing dramatic series programming written & directed by women. Indigenous Media will finance 5 short pilots from new voices with the potential to produce and fund full-length versions. Women who are not yet members may become members and down for application. Thank you for all those who applied to the Indigenous Media Incubator through Women In Film. The deadline is now past and no further applications will be accepted. This doc chronicles the career of trailblazing Hollywood executive Marcia Nasatir, who broke through the glass ceiling back in the 70s. At a time when gender inequality in Hollywood continues to make headlines, Anne Goursauds documentary A Classy Broad, which had its world premiere in Santa Barbara, seems especially savory. The film surveys the long career of Marcia Nasatir, one of the first women to achieve success as a producer and studio executive. At the age of 89, Nasatir continues to pursue projects to produce and keeps up with all current movies, taking the bus to Academy screenings from her home in Santa Monica. Make this Valentines day extra romantic. Weve suggested fourteen films by women to watch for a great February 14! You can enjoy some romance and add to your list of #52FilmsByWomen at the same time. Thanks to everyone who contributed to this list on social media, as well as our wonderful intern Susan! Blood & Sand 1922 Written by June Mathis Subscribers can stream on Amazon Prime Le Pointe Courte 1955 Directed by Agnès Varda Written by Agnès Varda Subscribers can stream on Hulu The Heartbreak Kid 1972 Directed by Elaine May Written by Neil Simon Desperately Seeking Susan 1985 Directed by Susan Seidelman Written by Leora Barish Mississippi Masala Written by Sooni Traporevala Subscribers can stream on Netflix Sleepless in Seattle 1993 Directed by Nora Ephron Written by Nora Ephron Written by Jane Austen (adapted) Bound Directed by The Wachowskis Written by The Wachowskis Love & Basketball 2000 Directed by Gina Prince-Bythewood Written by Gina Prince-Bythewood Saving Face 2004 Directed by Alice Wu Written by Alice Wu Something New 2006 Directed by Sanaa Hamri Written by Lisa Jones, Kasi Lemmons, Kriss Turner Waitress 2007 Directed by Adrienne Shelly Written by Adrienne Shelly Middle of Nowhere 2012 Written by Ava DuVernay This code is not valid. Try again or contact if you believe you are receiving this message in error. This code has already received the maximum number of RSVPs. Contact if you believe you are receiving this message in error. Jill Soloway, the Emmy-winning showrunner behind Amazons Transparent and one of TIMEs 100 Most Influential People of 2015, used to think Hollywood executives failure to hire more women in positions of authority was an accident. Not anymore. “Im starting to think theyre doing it on purpose, ” she tells Reza Aslan, the best-selling author of Zealot and No god But God, on the forthcoming Rough Draft with Reza Aslan, premiering Feb. 28 on Ovation TV. In this exclusive clip, Soloway speaks to Aslan, who is also a TV producer and a professor, about the need to hold Hollywood responsible for hiring more women. She discusses the tendency to pigeonhole female characters into reductive opposites—“the madonna or the whore, the good girl or the bad girl”—and how to repair that “divided feminine. ” THINGS ARENT SO hot for women in Hollywood right now. We kind of always knew that, of course, but now that Jennifer Lawrence is writing letters about not getting paid as much as her male costars and The New York Times Magazine is writing huge features on how tough it is for women to get anywhere as filmmakers, its getting harder to ignore. The thing is, it shouldnt be ignored—it should be fixed. To help with that, Vimeo is launching Share the Screen, an initiative to help female filmmakers by funding their projects, teaching them the business, and promoting their movies. “From its beginning Vimeo has always stood for the democratization of filmmaking, and of sharing videos, and of gaining access to audiences, ” says Vimeo CEO Kerry Trainor. “When we see all of the information from the past couple years about just how wide the gender equality gap is in the entertainment industry, lending our support identifying and celebrating female voices made all the sense in the world. ” Under the initiative, announced today at the Sundance Film Festival, Vimeo will bankroll at least five projects from women filmmakers this year. It will identify burgeoning directors through its current acquisitions pipeline, the team behind its original series, and the in-house group that handles the platforms Staff Picks. Staffers also will meet with female filmmakers during Sundance in a bid to find candidates. Non-profit arts organization Film Independent has announced the 30 filmmakers selected for Project Involve, the organizations signature diversity mentorship program that fosters the careers of filmmakers from communities traditionally underrepresented in the film industry. The group has also revealed a major new studio support of Project Involve with Focus Features Lili Elbe Fellowship, which will be awarded to a transgender filmmaker in the 2016-2017 program and will provide the filmmaker with a 10, 000 grant. According to Film Independent, Project Involve is a free nine-month program for writers, directors, producers, editors, cinematographers and entertainment executives from diverse backgrounds. During the program, participants meet one-on-one with film industry mentors, create short films, and attend master-workshops taught by top film professionals and industry networking events. Past Fellows from Project Involve include Andrew Ahn, whose feature debut “Spa Night” is premiering at this years Sundance Film Festival, Jon Chu (“Step Up 3D, ” “Step Up 2: The Streets”) “Advantageous” director Jennifer Phang and “Dear White People” producer Effie T. Brown and director Justin Simien. If youre at Sundance and want to keep up your #52FilmsByWomen, check out any of the 61 films below! A Good Wife World Dramatic Directed by Mirjana Karanovic Written by Mirjana Karanovic, Darko Lungulov, Stevan Filipovic, Showtimes Affections Directed by Bridey Elliott Written by Bridey Elliott Agnus Dei Premeire Directed by Anne Fontaine Written by Anne Fontaine All These Sleepless Nights World Documentary Directed by Michal Marczak Written by Eva Lebeuf, Michal Huszcza, Krzysztof Baginski Another Kind of Girl Documentary Shorts Program Directed by Khaldiya Jibawi As You Are US Dramatic Directed by Miles Joris-Peyrafitte Written by Madison Harrison, Miles Joris-Peyrafitte Audition Directed by Lovisa Siren Written by Lovisa Siren Audrie And Daisy US Documentary Directed by Bonni Cohen, Jon Shenk Written by Bonni Cohen, Jon Shenk Belladonna Directed by Dubravka Turic Written by Dubravka Turic Beneath The Embers (Baja Las Brajas) Directed by Veronica Jessamyn Lopez Sainz Andrea Fuentes Charl Films & Performances Directed by Kirsten Johnson Directed by based on the stories by Maile Meloy, Kelly Reichardt Dogwalker Directed by Kim Sherman Edmond Directed by Nina Gantz Written by Nina Gantz Entrapped Directed by Razan Ghalayini Written by Razan Ghalayini Directed by Meera Menon Written by Amy Fox Figure Directed by Katarzyna Gondek Hooligan Sparrow Directed by Nanfu Wang Written by Nanfu Wang I Am Yupik Directed by Daniele Anastasion, Nathan Golon Jim: The James Foley Story Directed by Brian Oakes Written by Heather MacDonald, Brian Oakes, Chris Chuang Jungle Directed by Asantewaa Prempeh Written by Asantewaa Prempeh Kate Plays Christine Directed by Robert Greene Written by Marty Stonerock, Stephanie Coatney, Kate Lyn Sheil, Zachary Gossett, Holland Hayes, Michael Ray Davis Kiki Directed by Sara Jorden Written by Sara Jorden, Twiggy Pucci Garon Land Tides (Marea De Tierra) Directed by Manuela Martelli Amirah Tajdin Written by Manuela Martelli Amirah Tajdin Limbo Limbo Travel Animation Spotlight Directed by Zsuzsanna Kreif, Borbála Zétényí Written by Zsuzsanna Kreif, Borbála Zétényí Love Song Directed by So Yong Kim Written by So Yong Kim, Bradley Rust Gray Maman(s) Directed by Maïmouna Doucouré Written by  Maïmouna Doucouré Mammal Directed by Rebecca Daly Written by Rebecca Daly, Glenn Montgomery Maya Angelou And Still I Rise Doc Premeire Directed by Rita Coburn Whack, Bob Hercules Mi Amiga Del Parque Directed by Ana Katz Written by Inés Bortagaray, Ana Katz Mobilize Nari Directed by Sun Yunfan, Dave Liang, Gingger Shankar Written by Sun Yunfan, Dave Liang, Gingger Shankar Newtown Directed by Kim A. Snyder Written by Kim A. Snyder Norman Lear: Just Another Version of You Directed by Rachel Grady, Heidi Ewing Written by Rachel Grady, Heidi Ewing Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper Directed by Liz Garbus Written by Liz Garbus NUTS! Directed by Penny Lane Written by Thom Stylinski Partners Directed by Joey Ally Written by Joey Ally Plaza De Soledad Directed by Maya Goded Written by Carlos Pérez Ramírez, Raquel López, Ángeles Álvarez Llorente, Epifanía Ruiz Lucas, Leticia Guzmán, Carmen M Resilience Directed by James Redford Written by Jen Bradwell Richard Linklater- Dream is Destiny Directed by Karen Bernstein, Louis Black Written by Karen Bernstein, Louis Black Sand Storm Directed by Elite Zexer Written by Elite Zexer Seide Directed by Elnura Osmonalieva Written by Elnura Osmonalieva Directed by Rokhsareh Ghaem Maghami Written by Rokhsareh Ghaem Maghami Sophie And The Rising Sun Directed by Maggie Greenwald Written by Maggie Greenwald Tallulah Directed by Sian Heder Written by Sian Heder Territory Directed by Eleanor Mortimer NEXT Written by Lisa Kjerulff, Saela Davis, Anna Rose Holmer The Grandfather Drum Directed by Michelle Derosier Written by Michelle Derosier The Intervention Directed by Clea DuVall Written by Clea DuVall The Itching Directed by Dianne Bellino Written by Dianne Bellino The Lure Directed by Agnieszka Smoczynska Written by Robert Bolesto The Puppet Man Midnight Shorts Program Directed by Jacqueline Castel Written by Jacqueline Castel The Send-Off Directed by Ivete Lucas, Patrick Bresnan Too Legit Directed by Frankie Shaw Written by Frankie Shaw Trapped Directed by Dawn Porter Written by Sari Gilman, Dawn Porter Uncle Howard Directed by Aaron Brookner Written by Sara Driver, Tom DiCillo, Madonna, Jim Jarmusch, William S. Burroughs, Robert Wilson Under The Gun Directed by Stephanie Soechtig Written by Stephanie Soechtig, Mark Monroe, Brian Lazarte Weiner Directed by Elyse Steinberg, Josh Kriegman Written by Eli Despres, Elyse Steinberg, Josh Kriegman When Two Worlds Collide Directed by Heidi Brandenburg, Mathew Orzel White Girl Directed by Elizabeth Wood Written by Elizabeth Wood Wild Directed by Nicolette Krebitz Written by Nicolette Krebitz Women In Film gave out 32, 000 in cash and grants at its 10th annual brunch on Sunday, continuing to service its mission of achieving gender parity on and off screen. On hand from the back row: Meera Menon, Clea Duvall, “Tallulah” director Sian Heder, Stacey Wilson Hunt, Sheena Joyce, Maggie Greenwald, and kneeling in the front row,  Women In Film Executive Director Kirsten Schaffer, Women In Film President Cathy Schulman and Lucy Webb. Being a first-time filmmaker with a movie at Sundance is a nerve-racking, exhausting endeavor. Even worse? Also being one of the leads. As Clea Duvall, the writer/director/star of The Intervention, revealed during the Vulture-moderated Women in Film panel and celebration in Park City, “I woke up every day not knowing how we were going to get done what we needed to get done. ” The Women in Film event, now in its tenth year, was a discussion between female directors who had films in the festival, and Duvall was sitting alongside fellow panelists Meera Menon ( Equity) Sian Heder ( Tallulah) Maggie Greenwald ( Sophie and the Rising Sun) and Sheena Joyce ( A Hug From Paul Ryan) as she discussed her experiences working on The Intervention. Despite having a number of credits to her name, including Girl, Interrupted,  Argo, American Horror Story, and Better Call Saul, Duvall admitted that starring in her own movie lent itself to a special kind of anxiety. Thank you so much for your interest. We have reached capacity for this event. We will have a waitlist line onsite that you are welcome to join. Women and Hollywood is proud to unveil an original video celebrating the work of 2015s highest-grossing women directors. The video captures some of the years most memorable moments in women-helmed films, from a young female bosss confident stride (“The Intern”) to whats already become a legendary sultry stare (“Fifty Shades of Grey”. The video spans multiple genres, including a musical (“Pitch Perfect 2”) and a sci-fi epic (“Jupiter Ascending”. In 2014, women directed 17 of the top 250 grossing films  (for a total of just under 7.  Only two female helmers cracked the top 100 list: Angelina Jolie with “Unbroken” and Ava DuVernay with “Selma, ” coming in at #26 and #61, respectively. Happily, the picture is ever-so-slightly brighter for 2015s contributions by female filmmakers. Women directors cinched seven spots on the top 100 list, with Elizabeth Banks singing her way to the top at #12 with her directorial debut “Pitch Perfect 2, ” which grossed nearly 185 million in the U. alone. Alejandro G. Iñárritu, Adam McKay, Ridley Scott, Todd Haynes, Steven Spielberg. Theres a common theme in the BAFTA nominations for Best Director that were revealed this morning. This is not to say that the academy itself is necessarily guilty of favouring men, but rather that a complex system of sexism is endemic in the film industry that makes it much harder for women to secure the big projects. #52FilmsByWomen is a campaign by Women In Film aimed at combating it, “a fun way to bring attention to the many talented female filmmakers around the world, and a great way to spark a creative and interactive conversation. ” Purchase tickets here! Women In Film Shorts Night: Truer Words January 25, 2016 7:30 PM West Hollywood Library Curated by Morgan Green and Ashley Chrisman Program to Include: “The Haircut, ” directed by Alexis Korycinski “Kimi Kabuki, ” directed by Yoko Okumura “Muted, ” directed by Rachel Goldberg “Stealth, ” written by Melissa Hoppe and directed by Bennett Lasseter “Wayward, ” directed by Kira Richards Hansen and produced by Pelle Folmer Thank you for being a Snow Angel! PDF of press release available here. WOMEN IN FILM ANNOUNCES 30TH ANNUAL  FILM FINISHING FUND RECIPIENTS                                                       FOR IMMEDIATE RELEASE: LOS ANGELES, CA   December 11, 2015 – Women In Film Finishing Fund co-chairs Betsy Pollock and Nancy Rae Stone are pleased to announce the recipients of the 30th annual Film Finishing Fund grant program.  Over two hundred and fifty feature-length narrative films, documentaries and shorts were submitted from around the world. Past recipients of the Fund have gone on to win Academy, Emmy, Sundance, Berlin Film Festival and Peabody Awards, among other recognitions. Beginning this year, 2015, Tiffany & Co. is presenting a 25, 000 grant to one of the Film Finishing Fund recipients, as part of their commitment to support Women In Film educational programs. The 2015 Women In Film Finishing Fund winners are: Narrative Feature Films AWOL Directed by Deb Shoval First Annual 25, 000 Grant supported by Tiffany & Co. Directed, written, and produced by Priscilla Anany Godless Directed by Ralitza Petrova/Produced by Rossitsa Valkanova Documentary Feature Films Black Ballerina Directed and produced by Frances McElroy A Revolution in Four Seasons Directed and produced by Jessie Deeter So Help You God Directed and produced by Ashley York The Uncondemned Directed and produced by Michele Mitchell Short Films Lacrimosa Directed, written, and produced by Tanja Mairitsch Directed by Christine Turner The Film Finishing Fund provides cash grants and in-kind production services to complete films that fit the established criteria of being by, for or about women. The works-in-progress are viewed by a special jury of women in the industry who select the winning films. Co-chairs Pollock and Stone are on the Board of Directors of Women In Film. Pollock is an Associate Dean of Production at AFI and Stone is a producer. 2015 WOMEN IN FILM FINISHING FUND WINNERS DETAIL In a post-industrial town with little economic opportunity, Joey, 18, falls for Rayna, 27, a sexy, married mother of two. Threatened by Raynas husband and fired from her job at the local dairy, Joey reluctantly joins the Army. Days before deployment overseas and still wildly in love, Joey returns to Pennsylvania, plotting to go AWOL with Rayna and her kids. SNAPSHOT BIO: Deb Shoval was raised by her Israeli father and American mother in a small Pennsylvania coal town, where she now owns Fertile Grounds, a 37-acre certified organic vegetable farm. Shovals short film AWOL premiered at Sundance in 2011, winning the Women In Film Grant from Kodak, Technicolor, and CalmDown Productions. The feature version of AWOL, starring Lola Kirke, is currently in post-production. AWOL the feature has received grants from the Jerome Foundation and Frameline and was chosen for Film Independents Fast Track, IFPs Narrative Completion Lab, and US Works in Progress Paris. At the Tribeca Film Festival this spring, Ms. Shoval received the IWC Schaffhausen “For the Love of Cinema” award. Shoval divides her time between Pennsylvania and New York City, where she lives with her wife, educator and playwright Tala Manassah. In Accra, the capital city of Ghana, Essuman(33) a yam seller gives birth to a son with a cleft palate. Her first instinct is to run away as the childs father, and her mother-in-law blames her for the childs “imperfection. ” Essuman makes the attempt, but her conscience brings her back. She struggles to find a cure for her child. SNAPSHOT BIO: Born in Ghana, West Africa in 1983, Priscilla grew up in a few other African countries including Togo and Nigeria as her father taught sculpture-making at various universities along the West African coast. She moved to the United States in 2003 to continue her education. Priscilla started her Ghana-based production company, i60 Productions, in 2011. At i60. Priscilla works as a producer and fixer for international producers looking to shoot their films, TV commercials, and other media projects in West Africa. Aside from that, Priscilla is focused on making her own films. She shot her first feature film Children of the Mountain in July 2014 and the film is currently in post-production. She is currently developing her second feature film Green Bird In a remote Bulgarian town, Gana looks after the elderly with dementia, while trafficking their ID cards on the black market. Once stolen the IDs are passed to Ganas boyfriend Aleko, a car mechanic and runner for a crime group dealing with identity fraud. At home, Gana lives with her jobless mother, for whom she provides, and with whom she hardly speaks. Her bond with Aleko is no shelter for love either — with sexual attraction vanished, intimacy is reduced to an addiction to morphine. Nothing seems to affect Ganas conscience, even the murder of a patient who threatens to expose the nurses fraudulent dealings. Things start to shake up when Gana is touched by the music of Yoan, a new patient whose ID card she has trafficked. SNAPSHOT BIO: Born in Bulgaria, Ralitza lives and works between England, Bulgaria, and France. In early life, she studied Fine Art, and later Fiction Directing at the UKs National Film and Television School. Her films have won acclaim at film festivals such as Cannes, Berlin, San Sebastian and Karlovy Vary, as well as on numerous art platforms, including the Centre Pompidou, Paris. She was previously awarded the Prix UIP, Best European Short Film at the Berlin IFF, and nominated for the European Film Awards. Her film By the Grace of God, which premiered at Cannes Film Festival, is currently on DVD release at the bookstores of the British Film Institute, Tate Modern, and the Institute of Contemporary Arts. Ralitza is an alumna of Creative Englands Elevator Programme 2013, Le Groupe Ouest 2013, and TorinoFilmLabs FrameWork 2013, where her debut feature project Godless was awarded one of the main production prizes. Recently Ralitza received the Restart Award in the Work in Progress section of Sarajevo Film Festival 2015 for her film Godless. The documentary Black Ballerina compels viewers to think about issues of diversity, inclusion and equality in a fresh way. Set in the overwhelmingly white world of classical dance, the documentary tells the stories of several black women from different generations who fell in love with ballet. Six decades ago, while pursuing dreams of dance careers, Joan Myers Brown, Delores Browne and Raven Wilkinson confronted racism, exclusion and unequal opportunity. Today, young black women continue to pursue ballet careers. The film explores the formidable challenges dancers of color still face, whats being done about it and why it matters. SNAPSHOT BIO: Frances McElroyis Producer/Director of Black Ballerina. As a seasoned documentary filmmaker and a 2009 Pew Fellow in the Arts, her mission is two-fold: first is to create issue-driven documentaries and videos for PBS and non-profit organizations; second is to make her work available for use by community, educational, cultural and advocacy organizations to stimulate dialogue about contemporary concerns. Her works focus is to give voice to the overlooked, raise questions about injustice and demonstrate the transformative power of art and place. Her major films, seen on PBS, include: Mirror Dance, Making Waves, and An Angel In The Village. Frances current documentary, Black Ballerina, is in post-production. In addition to a recent grant from Women In Film, funders include the National Endowment for the Arts, the Pennsylvania Council on the Arts and the Leeway and Montgomery County Foundations. A Revolution in Four Seasons is the story of Emna and Jawhara, and the struggle for democracy in Tunisia, the country that kicked off the Arab Spring revolutions and which has now been honored with the 2015 Nobel Peace Prize. Standing in contrast to the civil wars of Syria and Yemen and the autocratic retreat that is Egypt, and bordered by the unstable failed-state of Libya, Tunisia perseveres alone in its dogged march towards a more democratic future. Our film tracks secular journalist Emna Ben Jemaa and Islamist Parliament member Jawhara Ettis over the course of Tunisias critical first four years post-revolution, as both work to steer the country towards their own disparate versions of the perfect democracy. SNAPSHOT BIO: Jessie has been producing, reporting and directing documentaries for more than a decade. She produced and directed Spark: A Burning Man Story, which premiered at the SXSW film festival and aired on Showtime in 2013. She produced Revenge of the Electric Car, which had its debut at the Tribeca Film Festival in April 2011 and aired on PBSs Independent Lens in April 2012. She directed and produced Death by Fire, a documentary that led PBSs FRONTLINE season in October 2010. She was the Producer of Who Killed the Electric Car? which premiered at Sundance and was released by Sony Pictures Classics in 2006. She is currently producing a documentary about artificial intelligence that should debut in 2017. Jessie has a Masters of Journalism from UC Berkeley and recently spent nine months as a Fulbright Scholar in Oman, Morocco and Tunisia. The evening of April 6, 1997, news echoed across the globe about a murder in Tennessees Appalachian Mountains. The story made international headlines and was deemed by the Associated Press as the fifth most popular story of 1997. York was a junior in high school at the time and shared ninth grade homeroom with Natasha Cornett, one of three teenage girls accused of the murder. Several years later and while a graduate student at the University of Southern California, she began traveling to her hometown and various prisons in the state of Tennessee to begin a series of interviews with the kids (now much older) who are serving life prison sentences. SNAPSHOT BIO: Ashley York is a mediamaker and film producer who is interested in documentaries, socially conscious media, and emerging modes of storytelling. She has worked on Academy Award-winning teams and as a producer on projects that have premiered at the Sundance, Berlin, and SXSW film festivals as well as on Netflix, Oprah Winfreys Network, A&E, IFC, HBO, Discovery International, and the Sundance Channel. She co-directed and produced Tig, a Netflix Original documentary and Official Selection of the 2015 Sundance Film Festival, Hot Docs Canadian International Documentary Film Festival, Outfest, and IDFA. Ashley was one of nine women debuting a feature film at the 2015 Sundance Film Festival. The Uncondemned tells the gripping and world-changing story of a group of international lawyers and activists who fought for the first-ever conviction of rape as a crime of war, and the four Rwandan women who came forward to testify for justice where there had been none. SNAPSHOT BIO: Michele Mitchell is the producer/writer/co-director of The Uncondemned. She produced, directed and wrote her first documentary, Haiti: Where Did the Money Go? PBS) which won the 2013 national Edward R. Murrow award for Best TV Documentary, a Gracie Award for Best Investigative Program, CINE Special Jury Award for Best Investigative Documentary and a CINE Golden Eagle, among many others. A former award-winning investigative reporter for “NOW with Bill Moyers” (PBS) and political anchor for CNN HLN, Michele is the author of three books and has reported extensively from the Middle East, Southeast Asia, East Africa, Haiti and most of the 50 United States. She began her career on Capitol Hill. The Uncondemned is her first feature documentary. Mila wakes up in an unknown world full of mysteries. On her journey through ever changing surreal landscapes she meets her lost lover Theo. Mila has to learn that love also means letting go. Lacrimosa is a story about loss and hope. SNAPSHOT BIO: Tanja was born in Austria. She moved to Los Angeles to study Film and TV Directing at the American Film Institute (AFI) where she was awarded with the prestigious Mary Pickford Scholarship for Outstanding Achievements in film directing and the AFI Richard P. Rogers Spirit of Excellence Award. Her thesis film Fueling the Fire won the Directors Guild of America (DGA) Student Film Award. The film went on to win 16 “Best Short Film” or “Best Director” awards and screened at over 30 international film festivals. Fueling the Fire received an exclusive broadcast deal with HBO/CINEMAX. Tanja decided to explore the uncharted territory of underwater cinematography in her latest project, the short film Lacrimosa. A high school administrator talks down a troubled student. SNAPSHOT BIO: Christine Turner is a filmmaker and documentary television producer based in New York. Her feature directorial debut, Homegoings, about a renowned funeral director in Harlem, premiered at Documentary Fortnight at the Museum of Modern Art (MoMA) NY and opened the 26th season of the acclaimed PBS series, POV. Previously Christines fiction short, Rubber Soles, screened at the Tribeca Film Festival, San Francisco International Film Festival and aired on “Reel New York” on PBS. She received her BFA in Film & Television from New York University. HISTORY OF THE FILM FINISHING FUND The Women In Film Finishing Fund (FFF) has been identifying and awarding funds to deserving filmmakers for 30 years. The juries have consistently singled out films for finishing that went on to earn critical acclaim and major awards, including: American Revolutionary: The Evolution of Grace Lee Boggs 2014 Peabody Award Winner, American Documentary; director: Grace Lee Regarding Susan Sontag, 2014 Best Documentary Feature, Tribeca Film Festival; director: Nancy Kates Grace Paley: Collected Shorts – 2010 Palm Springs International Film Festival finalist – Best in Festival; director: Lilly Rivlin Circumstance 2010 Sundance US Dramatic Competition Winner, Audience Award Winner; director: Maryam Keshavarz Freeheld 2008 Academy Award-winner, Best Documentary; director: Cynthia Wade A Walk Into The Sea: Danny Williams And The Warhol Factory 2007 Berlinale Teddy Award, Best Documentary; director: Esther Robinson American Blackout 2006 Sundance Special Jury Prize, Best Documentary; producer: Anastasia King Maya Lin: A Strong Clear Vision 1994 Academy Award-winner, Best Documentary; director: Freida Lee Mock About Women In Film Women in Film is a non-profit organization dedicated to promoting equal opportunities for women, encouraging creative projects by women, and expanding and enhancing portrayals of women in all forms of global media. Given that women comprise fifty percent of the population, WIFs ultimate goal is to see the same gender parity reflected on and off screen. Founded in 1973, WIF focuses on advocacy and education, provides scholarships, grants and film finishing funds and works to preserve the legacies of all women working in the entertainment community. For more information visit. For more information, contact: Catherine Olim / PMK*BNC or 310-967-7242 Emily Bensinger (pictured above with Teri Schwartz and Tony Goldwyn) took first price for Harridans. Second place was a tie, with the prize split between Noel Scott Chalmers for Stinker and Chloe Keenan for What I Did This Summer By Sophie Crumb. Third place went to Melissa Finell for Sensitivity Training, and UC Riversides Sean Dennison was the runner-up for Panacea. Usually it takes a fundraising politician or a glittering awards show to convene competing studio executives and Hollywood agents in one room in Los Angeles. But for two days this fall, a group of 44 entertainment industry leaders gathered quietly, turning off their phones and setting aside their rivalries to tackle an increasingly visible problem in their business: the lack of women both in front of and behind the camera. The private meeting was one of the first attempts by Hollywood decision makers to grapple with gender bias as a group, and occurred as federal investigators conduct a probe into possible gender discrimination in Hollywood.
New York Winter Palace Download torrente.
As an ex-psycholoyy student, it's astonishing to see that people feel obliged to rebel. For instance, this video promotes/demonstrates pure human kindness. And yet in the comment, you will find a surprisingly large amount of rude 'trolls. Just as my faith in humanity was restored, it was disintegrated by comments.
They really went for a joker-style trailer huh.
This week on indieWIRE, James Franco dished on his new porn project, “The Help” got dissected, IFP named the lucky projects taking part in their annual Project Forum and much more. News James Franco is Directing a Documentary About Porn Megasite James Francos latest project is making a documentary about BDSM and fetish porn site Christine Vachon, Rose Troche, Bruce LaBruce Among the 150 in IFPs Project Forum New projects from Christine Vachon, Bruce LaBruce, David Robert Mitchell (“The Myth of the American Sleepover”) and Rose Troche are among the 150 that made the cut for this years Project Forum, hosted by IFP during Independent Film Week (September 18-22) at the Film Society of Lincoln Centers Elinor Bunin Monroe Film Center. 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This weekends new releases include a heart-warming adaption of an Oprah approved best-seller, a hard-R comedy, a Sundance award-winning documentary, a gory horror sequel and more. Want to know whats worth your money? Check out the reviews published this week on indieWIRE and our blog network. Critics Notebook, How Movies Like “The Help” Reinforce Hollywoods Race Problem Nobody should be surprised by the dearth of minorities in contemporary media. On the surface, its a boring issue: Whether or not the stories of gay, black or women characters make their way into movies and television only becomes a central issue if specific industrial forces continue to keep them out. If a truly progressive society is color blind, then everyone should let the chips fall and assume equal opportunity remains in flux. The reality is a lot more complicated, as demonstrated this week by the release of the antiquated civil rights drama “The Help. ” LOCARNO REVIEW, The Real-Time “Best Intentions” is One Mans Anxiety, Many Points of View Like many Romanian movies of the moment, “Best Intentions” invests heavily in the feeling of time passing. With its organic construction of a hospital environment, the movie begs comparison to “The Death of Mr. Lazarescu, ” although its interests are less grim. LOCARNO REVIEW, Why Julia Loktevs “The Loneliest Planet” Earns Its Leisurely Pace In “Day Night Day Night, ” Julia Loktev told the quietly experimental tale of a young would-be suicide bomber nervously wandering through the crowd of Times Square, impressing some critics if not much of an audience beyond that. Her long-awaited follow-up, “The Loneliest Planet, ” deals with noticeably broader terrain and even includes a mid-size star (Gael Garcia Bernal. 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LOCARNO REVIEW, “Hanaan” Suggests “The Wire” By Way of Robert Bresson If Robert Bresson directed an episode of “The Wire, ” it might look something like sad world of drug-fueled anger and broken dreams that dominate first-time director Ruslan Paks “Hanaan. ” LOCARNO REVIEW, “Bachir Lazhar” Delivers a Moving Take on the Classroom Drama “Bachir Lazhar, ” the fourth feature from Quebec-based filmmaker Phillippe Falardeau, fulfills the classroom drama clichés, while at the same time transcending them. LOCARNO REVIEW, Despite Fix to Formula, Comic Misadventure “Headhunters” Recalls “The Fugitive” Adapted from Jo Nesbos novel by screenwriters Lars Gudmestad and Ulf Ryberg from the novel, “Headhunters” announces itself as a routine heist movie by letting Roger Brown, the daring art thief anti-heros, perspective dominate. Go to page two for Features, Interviews and Videos from the week. Features Meet the Toronto International Film Festival Programmers, In Their Own Words Were happy to present the Toronto International Film Festival as the first non-U. S. event in our ongoing series spotlighting festival programmers. The Kickstarting Never Stops: Three Sundance Films Are Looking for Distribution Dough Filmmaking may be democratized by more-affordable technologies, but it still costs a hell of a lot of money to get your film seen. From making prints to booking theaters to sales agents to publicists, the expenses stack up. FIRST PERSON, Ira Sachs on How to Shoot a Simulated Sex Scene That Looks and Feels Real Filmmaker Ira Sachs (“Forty Shades of Blue, ” “The Delta”) is currently directing his new film, “Keep the Lights On, ” a semi-autobiographical and sexually explicit New York gay in-and-out-of-love story profiled earlier this year in our in-production column And among his many challenges is how to shoot sex scenes—or at least, scenes that look like sex. indieWIRE Picks: What to Watch on DVD, Blu-ray and VOD This Week This week on the small screen, legendary DP Jack Cardiff gets the tribute he deserves, Ellen Page goes a bit crazy and much more. Comedy Bootcamp: Top 15 Tips from Sundances Comedy ShortsLab: LA For its second annual ShortsLab: LA, the Sundance Institute put the emphasis on comedy. The result was a day packed full of expert tips invaluable to anyone interested the delicate art of making people laugh. Too Much Madness To Explain In One Text: On The U. K. Riots And ‘Attack The Block Joe Cornish‘s directorial debut “Attack The Block” has a socio-political backbone to it that in the last few days has suddenly struck a vein that few was expecting, with the explosion of violence and looting thats taken place in London since Saturday night. Interviews FUTURES, Asif Kapadia, Director of Racecar Doc “Senna”: Off With the Talking Heads! Asif Kapadia is no newcomer. The filmmaker won a BAFTA for his 2001 visually ravishing epic “The Warrior” and helmed the Sarah Michelle Gellar horror flick “The Return. ” So why are we profiling him? His Sundance award-winning sports documentary, “Senna, ” marks his first stab at documentary filmmaking, and he nails it. INTERVIEW, Drugs, Meet Movies: Tao Lin and Megan Boyles MDMAfilms Filmmakers Tao Lin and Megan Boyle arent the first people to find causal connection in drugs and art, but they may have broken new ground in their conspicuous consumption. The name of their production company, MDMAfilms, is the embodiment of truth in advertising: They take drugs and then they make movies. Director Lone Scherfig Talks About “One Day, ” Anne Hathaway, and “The Way We Were” One Day has a rigid structure that some directors would find impossible. Emma and Dexter – played by Anne Hathaway and Jim Sturgess – live through two decades of tumultuous friendship and love, although we only see them on July 15th each year. But this romantic drama plays to Danish-born director Lone Scherfigs strengths. INTERVIEW, Jimmy McMillan Says The Rent is Too Damn High. Also, Hes the Star of a New Documentary. indieWIRE sat down with one of the strangest faces in modern politics for a meandering hourlong conversation involving his feelings about the documentary, his comedy routine, an upcoming presidential campaign, and his open affection for pornography. LOCARNO INTERVIEW, Abel Ferrara: Download Torrents of My Undistributed Movies Ferraras appeal is defined by wisecracks, self-deprecation and an unmistakable blend of sleaziness and charm – just like his best movies. LOCARNO INTERVIEW, Director Julia Loktev: “Im interested in good people doing bad things. ” Three years after Julia Loktevs minimalist suicide bomber story “Day Night Day Night” hit theaters, the director has returned with a new film that contains a similarly restrained style but deals with entirely separate issues. Video Watch: Rousing Trailer for Ralph Fiennes Directorial Debut “Coriolanus” Ralph Fiennes likes himself some drama. After laying Lord Voldemort to rest in this summers “Harry Potter and the Deathly Hallows: Part Two, ” the acclaimed British performer next finds himself playing the titular General in a contemporary adaptation of Shakespeares “Coriolanus, ” which hits theaters during awards season on December 2nd courtesy of The Weinstein Company. Watch: International Trailer Provides First Look At Lynne Ramsays ‘We Need To Talk About Kevin This years Cannes Film Festival saw Ramsay return in force with “We Need To Talk About Kevin, ” an adaptation of the unlikely best-seller from Lionel Shriver about a mothers difficult relationship with her sociopathic son. iWs Online Video of the Day: Harvey Weinstein Suffers Through Paul Rudds Marketing Pitches Sure, its just movie marketing, but its funny movie marketing. Its all in service of the upcoming Weinstein release “Our Idiot Brother”: Star Paul Rudd comes into Harvey Weinsteins office bearing, appropriately enough, idiotic marketing ideas for the film. Watch The Trailer For Gotham and Spirit Award Winning “Littlerock” Hitting theaters in New York this Friday and expanding in September, Variance Films has premiered the trailer for Mike Otts “Littlerock, ” which last December won the Gotham Award for “best film not playing at a theater near you. ” Thats about to change. iWs Online Video of the Day: Jason Sudeikis and Tyler Labine Get Up Close & Personal in “Orgy” We werent so hot on the tame trailer for the upcoming comedy “A Good Old Fashioned Orgy. ” It was all buildup and no payoff. So it was a pleasant surprise when we came across a just-released clip from the film film that fulfills on the promise of its title: namely that people actually get it on. iWs Online Video of the Day: The “Catfish” Directors Capture a Mini Metropolis Henry Joost and Ariel Schulman, the boys behind the documentary sensation “Catfish, ” have no problem with switching genres. Since garnering critical acclaim, controversy and a bevvy of disbelievers with their debut (now featured in the Current TV series “50 Documentaries You Must See Before You Die, ”) they have gone on to helm the upcoming horror sequel “Paranormal Activity 3” (hits theaters in October) and now this fascinating gem of a short that you can check out below. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

2 nominations. See more awards  » Videos Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 6. 8 / 10 X A murder case in the Mongolian steppe. A herder is asked to guard the crime scene - a woman who resolutely scares off both wolves and her neighbor. She has her own plans for the future. See full summary  » Director: Quan'an Wang Stars: Aorigeletu, Gangtemuer Arild, Dulamjav Enkhtaivan 6. 4 / 10 Lola controls her personal life with the same ruthless efficiency she uses to optimize profits in her job as a business consultant. But when a tragic event forces the past back into her life, Lola's grip on reality seems to slips away. Marie Kreutzer Valerie Pachner, Pia Hierzegger, Mavie Hörbiger Biography, Thriller 7. 2 / 10 A Welsh journalist breaks the news in the western media of the famine in the Soviet Union in the early 1930s. Agnieszka Holland James Norton, Vanessa Kirby, Peter Sarsgaard 6. 9 / 10 A North Macedonian woman throws herself into a traditionally men-only ceremony, kicking up a ruckus and standing her ground. Teona Strugar Mitevska Zorica Nusheva, Labina Mitevska, Stefan Vujisic Mystery 6. 7 / 10 A grieving widower moves to the country where a chance encounter rekindles memories from his past. Hans Petter Moland Stellan Skarsgård, Bjørn Floberg, Tobias Santelmann Crime 7. 3 / 10 The three men, friends of childhood, will cross, compare their personal experiences and question their life of couple, family and professional. François Ozon Melvil Poupaud, Denis Ménochet, Swann Arlaud 8. 1 / 10 On her wild quest for love, 9-year-old Benni's untamed energy drives everyone around her to despair. Nora Fingscheidt Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide 7. 7 / 10 Two married couples adjust to the vast social and economic changes taking place in China from the 1980s to the present. Xiaoshuai Wang Liya Ai, Jiang Du, Zhao-Yan Guo-Zhang 6. 6 / 10 A pilot's aircraft is hijacked by terrorists. Patrick Vollrath Joseph Gordon-Levitt, Omid Memar, Aylin Tezel 7. 6 / 10 Yuma is a young Japanese woman who suffers from cerebral palsy. Torn between her obligations towards her family and her dream to become a manga artist, she struggles to lead a self-determined life. Hikari Makiko Watanabe, Minori Hagiwara, Shizuka Ishibashi A film about three siblings. All have reached a point where they have to change something quickly before the second half of their lives begins. Between chaos, inadequacies and losses, they search for a path that might lead to happiness. Edward Berger Lars Eidinger, Nele Mueller-Stöfen, Hans Löw 6. 3 / 10 Muriel farms horses and owns an almond plantation. When her grandson comes to visit her for one last time before he leaves for Canada. She learns that he has dark secrets. André Téchiné Catherine Deneuve, Kacey Mottet Klein, Oulaya Amamra Edit Storyline The story of people whose lives intertwine during a dramatic winter in New York City. Plot Summary Add Synopsis Details Release Date: 14 February 2020 (USA) See more  » Also Known As: New York Winter Palace Box Office Opening Weekend USA: 839, 8 December 2019 Cumulative Worldwide Gross: 65, 493 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia The title of this movie is a quote from Tenessee Williams's play "A streetcar named desire. Blanche Dubois, the heroine of sorts of the play, says "I have always depended on the kindness of strangers" hinting at her past as a prostitute. The phrase was also taken up by British war correspondent Kate Adie as the title of her memoirs. See more ».

New york winter palace download torrent windows 7. László Krasznahorkai, Seiobo There Below, Trans. by Ottilie Muzlet, New Directions, 2013. excerpt 1 excerpt 2 read it Google Books Beauty, in László Krasznahorkais new novel, reflects, however fleeting, the sacred — even if we are mostly unable to bear it. In Seiobo There Below we see the goddess Seiobo returning to mortal realms in search of perfection. An ancient Buddha being restored; Perugino managing his workshop; a Japanese Noh actor rehearsing; a fanatic of Baroque music lecturing to a handful of old villagers; tourists intruding into the rituals of Japans most sacred shrine; a heron hunting. … Seiobo overs over it all, watching closely. Melancholic and brilliant, Seiobo There Below urges us to treasure the concentration that goes into the perception of great art, leading us to re-examine our connection to immanence. A torrent of hypnotic, lyrical prose, Krasznahorkai's novel explores the process of seeing and representation, tackling notions of the sublime and the holy as they exist in art. The chapters are disguised as vignettes, each with its own art form situated in particular time and place. The reoccurring theme of the creation and experience of art provides just enough cohesion to form a philosophical narrative arc. At one point, a visitor of a museum in Venice discovers a painting of Christ that seems to come to life and look back at him with "a sorrow impossible to grasp in its entirety, and entirely incomprehensible to him. Elsewhere, a Noh actor prepares to play Taoist goddess of immortality, Seiobo, by acknowledging that "there is no transcendental realm somewhere else apart from where you are now. Tinged both with sadness and an anxiety about the capability of language, this brilliantly ambitious novel, like the tragic poetry of one of its characters, becomes a "ravishing cadenza" that "cannot be interpreted as anything else but the ceremonial swan-song of a soul sunk into silence. Nothing vast enters the lives of mortals without ruin - Sophokles, Antigonick, trans. Anne Carson A Japanese goddess descends to earth in László Krasznahorkais Seiobo There Below, bearing the fruit of immortality from her heavenly peach tree — but no one notices. She has come to grace the performance of a Noh play that, like Krasznahorkais book, bears her name, but though the actor who dances her role has prayed for the opportunity to perform this piece — “I Give Up My Fate Entirely! ” — he does not see how his prayer stands manifested beside him. There are books that, though fantastical, are nevertheless so profoundly continuous with reality that we cease to read them as fantasy. In Krasznahorkais breathtaking novel, the sacred exists; Seiobo, who narrates her journey herself, is a fact, just as the actor and the audience are facts. A later narrator offers us the guiding principle of this, our own, reality: amid the “forbidden symmetries” in the halls of the Alhambra, he observes that “something infinite can exist in a finite, demarcated space. ” The god is there in the theatre. Seiobo There Below itself is a finite, demarcated space, but in it something infinite exists. The latest of Krasznahorkais full-length works to be translated into English, Seiobo There Below is a confrontation with the vast, and therefore with vulnerability. In each of its seventeen chapters, the novel describes a process of artistic creation, from the making of Russian icons and the reconstruction of the Ise Shrine in Japan, to the attribution of Italian Renaissance paintings and the carving of Noh masks. Krasznahorkais erudition is staggering, but the way he relates the choosing of the wood for the shrine, or the restoration of a canvas, is so attentive and so modest that is sidesteps pedantry entirely, and instead participates in the very concentration it describes. The chapters are numbered according to the Fibonacci sequence, in which each number is the sum of the two before it, and indeed, Seiobo There Below compounds and reinforces itself ever more rapidly, its scope soon defying human proportions. The artworks Krasznahorkai describes are not only objects, but vessels of a sacred impulse: they are body and soul. The protagonists of the novel — artists, academics, and vagabonds — seek out these works, yearning for transcendence, and are instead crushed by terrifying facts: first, the fact of the works existence, its material undeniability, and second, the fact of its radical spiritual loneliness. More often than not, the encounter with art and/or the sacred ends in existential disaster. These former channels to the gods have been closed; they have become nearly empty signifiers. In the chapter “Where Youll Be Looking, ” for example, a guard at the Louvre wants nothing more than to spend eight hours a day looking at the Venus de Milo. But he knows that the statue did not belong here, more precisely, she did not belong here nor anywhere upon the earth, everything that she, the Venus de Milo meant, whatever it might be, originated from a heavenly realm that no longer existed … and yet she, this Venus from this higher realm remained here, left abandoned …. We do not want the sacred anymore, Seiobo asserts; we have chased it away. But we left a memory of it in these objects, and when we demand something from these memories, we forget that they have the power to destroy us. tension between order and chaos has been central to all of Krasznahorkais books available in English, Satantango, The Melancholy of Resistance, and War and War. In Seiobo There Below, this tension takes on its most moving and elegant form. Entropy, for Krasznahorkai, is the ultimate destiny of the universe, and art is necessarily in its service. Many characters in the novel are initially attracted by an artwork and the sacred force within it and compelled toward it, only to be overwhelmed by its presence, and then, in the attempt to retreat, paralyzed or annihilated. Some become forces for evil: one chapter is ominously titled “A Murderer is Born”; in another, an artist carves a theatre mask, never understanding that “what his hands have brought into the world is a demon, and that it will do harm. ” demonic is the shadow of the sacred, and Krasznahorkai does not let us forget it. He is no stranger to darkness; his work is famously bleak. But with Seiobo There Below, he reminds us of an observation of John Bergers, once made in relation to Goya: “The despair of the artist is often misunderstood. It is never total. It excepts his own work. ” In Krasznahorkais case, it excepts not only his own work, but also that of countless others, named and unnamed, from both the east and the west. Small, understated gestures throughout the book remind us that it is love, not fear, that drives us to art. Within the inevitable move toward entropy, Krasznahorkai traces a tiny space of freedom, a tiny path from which to approach the sacred. It requires making the world as small as possible, narrowing the vastness down to just this one brush, this blue pigment, this hinoki wood, this mask and this tool, this ancient way based on ritual and unflinching observation. The successful artists of Seiobo There Below make the space in which the sacred can appear as small as possible, so that it is not deadly yet, so that Seiobo can come and say, “I am not the desire for peace, I am peace itself … do not be afraid. ” Seiobo There Below is, in its way, a joyful book. Even for the most successful of these artists, however, the final result of an encounter with the sacred is non-existence. “Zeami is Leaving” is a poignant, beautiful chapter about an ideal artistic creation: one that subsumes the artist into it, making him disappear like the Chinese painter of legend who sailed off into his own landscape. Zeami, the most revered figure of the Noh tradition and the author of the original Seiobo play, has been exiled from Kyoto, his home. At some point during his solitary, uneventful days, a poem begins to take shape in his head, and when Zeami contemplates the silent hototogisu bird, art and nature finally combine with such harmony that it is as if the poem arises by itself: hototogisu literally means the bird of time, he tasted the word in this sense, nearly twisting it around — the compound signifying the cuckoo bird is the bird of time — to see from which side it would be suitable to give form to his souls deepest sorrows; at last he found the way, and the melody began to formulate itself within him — he was just thinking about it, not calling it by name — and the verse somehow formulated itself like this: just sing, sing to me, so not only you will mourn; I too shall mourn, old old man, abandoned and alone, far from the world, I mourn my home, my life, lost forever. Zeami subsequently turns to prose and writes, essentially, the chapter we have just read. The book that writes itself in our hands is a frequent feature of Krasznahorkais work, and here, it allows his own act of creation to join the collection of objects so reverently described, the human archive that will outlast us. Zeami chapter is followed by one more, number 2584 in the Fibonacci sequence, called “Screaming Beneath the Earth, ” in which buried animal sculptures from Chinas ancient Shang dynasty screech for all eternity against the “earth-demon” that crushes them and that will one day crush all of us. This brief, disturbing final episode, with its characterization of China as endless and immeasurable, clearly recalls Kafka. But in its tight, coiled fury, it is also reminiscent of Krasznahorkais own Animalinside, a collaboration with the German artist Max Neumann (published in English before Seiobo There Below but in Hungarian after) and before their cataract-clouded bulging eyes there is not even one centimeter of space, not even a quarter-centimeter, not even a fragment of that quarter, into which these cataract-clouded bulging eyes could stare, for the earth is so thick and so heavy, from all directions there is only that, everywhere earth and earth, and all around them is that impenetrable, impervious, weighty darkness that lasts truly for all time to come, surrounding every living being, for we too shall walk here, every one of us… Finishing Seiobo There Below is like walking out of a cathedral: its parting gift is a ringing in the ears. This book is magnificent and will outlive interpretation. * Krasznahorkais English readers are doubly fortunate this year to have not only Seiobo There Below, but the arts magazine Music & Literature, whose superlative second issue was devoted to Krasznahorkai, Max Neumann, and the filmmaker Béla Tarr. “Zeami is Leaving” appeared there several months before the novel was available, accompanied by a selection of Krasznahorkais short stories, speeches, and interviews, all previously unavailable in English, and all as bewitching as his novels. Of particular interest are the commentaries by Krasznahorkais translators. George Szirtes essay “Foreign Laughter: Foreign Music” describes his process of translating Krasznahorkai for the first time. The translator of Seiobo There Below, Ottilie Mulzet, whose challenges must have been enormous and whose results are miraculous, gives a brilliant interview in which she explains Krasznahorkais relationship to Asia and shares her own insight into his work. Additionally, Music & Literature provides translations of reviews and essays by French, Hungarian, and German critics, as well as original pieces by Anglophone writers. Though the issue is mainly devoted to Krasznahorkai, Béla Tarr is considered in an essay by the Argentinean writer Sergio Chejfec, and Max Neumann is given due praise in a spectacular essay by Dan Gunn, who edits the Cahiers Series that published Animalinside. The volume makes an impressive addition to Krasznahorkai scholarship in English, and will no doubt remain an invaluable resource to his readers for years to come. -  Madeleine LaRue The fiction of Hungarian writer László Krasznahorkai is often called “obsessive” by critics. For good reason—his sentences are enormous and repetitive, and his subjects are rigorously examined from all angles. He is a master of the breathless paragraph, the hypnotic meditation. James Wood, in a piece about Krasznahorkais pull as a postmodernist, noted that the worlds conjured by Thomas Bernhard seem more logical by comparison. Reading the Hungarian, he said, “is a little like seeing a group of people standing in a circle in a town square, apparently warming their hands at a fire, only to discover, as one gets closer, that there is no fire, and that they are gathered around nothing at all. ” This is a colorful image that the latest of Krasznahorkhais novels to be translated into English might be seen as refuting. Krasznahorkhais subject in Seiobo There Below is the motivations and the machinations behind beauty in art. Why bother with perfection, why seek it? How do we get there? Kraznahorkhai weaves together narratives that look at the connection between people and what they produce. In one plot thread, he looks at a Japanese Noh actor practicing; in another, he writes about a painting that is actually inhabited by Jesus Christ. Each chapter is related thematically and, as the jacket copy is eager to point out, is arranged according to the Fibonacci sequence of integers, which is to say that this is a novel with a method beneath its madness. Seiobo There Below is an excitingly smart and inventive novel, but its moving, too. It is difficult to cite particularly moving moments out of context (such is the spell of a book that flowers like an artichoke) because you often dont know how you got to the feelings youre having while reading about, say, a reconstruction of a sculpture of the Buddha, or young people discussing The Clash. Krasznahorkai is an expert with the complexity of human obsessions. Each of his books feel like an event, a revelation, and Seiobo There Below is no different. - Hungary has been in the news these past few years for all the wrong reasons. Its government, led by the right-wing nationalist Viktor Orban, has been curtailing civil liberties and cracking down on cultural freedoms, much to the chagrin of other European leaders. It's ironic, then, that at this troubling moment for Hungary, a generation of talented writers has been winning more attention abroad. The Nobel Prize winner Imre Kertesz, author of the new memoir Dossier K, and the polymath Peter Nadas, whose giant novel Parallel Stories was a publishing event, are probably the most famous Hungarian writers working today. But increasingly, young American literary types are falling for an unlikely Hungarian icon: Laszlo Krasznahorkai, a novelist and screenwriter whom the late Susan Sontag once called "the contemporary master of the apocalypse. " Why is New York's literary crowd suddenly in thrall to Hungarian fiction. The Guardian asked last year when the writer came to the United States. That may have been an overstatement, but it's true that Krasznahorkai writes unlike anyone else in fiction today, and something about his powerful, unsettling fiction drives fans to excess. His latest book to appear in English is Seiobo There Below, first published in Hungary in 2008. This newest novel — or maybe it's a book of interrelated short stories; the chapters connect only in tangential ways — is an excellent introduction to Krasznahorkai's difficult but deeply rewarding fiction. Brighter and more open than some of his earlier works, Seiobo is a book about art, about artists and spectators, the difficulty of artistic creation, and the glorious, sometimes overwhelming force works of art can have upon us. In each chapter (or story) set in locations as far afield as Venice and Kyoto and in periods from prehistory to today, we encounter artists struggling to create beauty amid the pressures of daily life, and ordinary people striving to concentrate on works of art against the roar of the world outside. In one section, a homeless Hungarian man wandering in contemporary Barcelona wanders into an apartment building designed by Gaudi and finds himself overcome by an exhibition of Russian icons, terrifyingly shining and golden. In another, an old craftsman painstakingly carves masks for a Noh theater company; the labor is peaceful, but the result is demonic. Many of the artists and cultural figures Krasznahorkai follows are real, such as the Italian painter Perugino; others are fictional, and still others hover on the border between the two. The link among them — if there is one — is the goddess Seiobo, a figure of Japanese mythology who makes occasional appearances throughout the book. In a rare moment of first-person narration, Seiobo descends from the heavens to inspire a theatrical performer, and themes of the sacred and profane reoccur in other chapters; perhaps she is there too. The breadth of material these stories cover is breathtaking, but Krasznahorkai wears his erudition lightly. Seiobo There Below proceeds slowly and deliberately, building up from page to page until each chapter obtains an almost unbearable intensity. His characters are usually isolated, in studios or ateliers, and where other authors rely on dialogue, Krasznahorkai relies abundantly on third-person narration. He constructs portraits out of minutely observed details and places them into surprising, sometimes cosmic settings. I'd quote a sentence here to show you how he does it — but if I did that would take up the entire space allotted to this review and much more besides. This most single-minded of authors never uses a period when a comma will do, and his sinuous, at times vertiginous sentences can extend to eight pages or more. (Ottilie Mulzet, the very capable translator, must have had her hands full. Here, for example, is the start of an extraordinary passage on Filippino Lippi, a painter of the Italian renaissance: He already knew how to draw a Madonna even before he knew what a Madonna was, but it wasn't only in this that he displayed an extraordinary talent, but in nearly everything else too, for he was able to read and write, master the skills of carpentry, use the tools of the workshop, grind and mix the pigments to perfection. And on it goes, for six more pages, spinning out the whole of Filippino's youth and training in an unstoppable performance of literary acrobatics. One chapter, in which a scholar of Baroque music gives a lecture to a shabby group of villagers, is a single sentence stretching across nearly two dozen pages. Near-infinite sentences in a nonlinear narrative shuttling across time and space, linked only by occasional appearances from a Japanese goddess? It sounds daunting, I realize. Yet the amazing thing about Seiobo There Below is that Krasznahorkai makes the whole thing feel utterly natural and utterly relevant. Krasznahorkai is one of contemporary literature's most daring and difficult figures, but although this book is ambitious, it isn't ever obscure. On the contrary: it places upon us readers the same demands of all great art, and allows us to grasp a vision of painstaking beauty if we can slow ourselves down to savor it. Jason Farago There was a time when, as a Romanian poet once put it, every rotten tree trunk held a god. In Seiobo There Below ( Seiobo járt odalent, 2008) László Krasznahorkai reminds us repeatedly that this time is long past. Not only is the sacred in retreat from the world, but we have forgotten how to perceive it (two sides of the same coin, some might say) 1. And yet the fifty-nine-year-old Hungarian author persists in speaking of transcendence. For Krasznahorkai, the spirits that once conveyed mystery and authority have not completely withdrawn; traces of the divine may still be discerned in the making and receiving of tradition-bound forms of art. Seiobo There Below represents seventeen remarkably diverse and ambitious forays into aesthetic grace. Seiobo is the fifth of Krasznahorkais sixteen books to appear in English. The fact that his other major novels in English translation – The Melancholy of Resistance, War and War, and Satantango – have primarily been set in Eastern Europe makes this latest effort seem like more of a departure than it actually is. A large part of the North American perception of Krasznahorkhai as “the contemporary Hungarian master of the apocalypse” (as Susan Sontag famously labeled him) has to do with the epic film adaptations of Krasznahorkais work that he and his friend director Béla Tarr have collaborated on ( Damnation, Sátántangó, Werckmeister Harmonies) as well as the order in which the authors books have appeared on these shores (his first novel, Satantango  took 27 years to make it into English. As Seiobo s translator Ottilie Muzlet has pointed out, Krasznahorkais Hungarian readership would be aware of the fact that the years 1999-2008 marked a transitional period in his work, which saw him turning increasingly to the Far East for inspiration. [2] Fittingly then, the original Seiobo is a work of fifteenth century Japanese Noh theatre, in which the titular goddess comes down from heaven to the earth below, bearing immortality. While the character Seiobo appears in one chapter of Krasznahorkais latest work, and Noh theatre pops up in a handful of others, the title Seiobo There Below describes more generally an arc that recurs in a variety of locations and tonal registers throughout the books seventeen sections. Each chapter presents an intersection (or failed intersection) between the sacred and the human, the immortal and the perishable, via aesthetic production and/or reception. Krasznahorkai alternates between Europe and Asia, ranging across 3000 years of cultural history, featuring familiar works such as the Alhambra, the Acropolis, and the Venus de Milo, but also a 500 year-old copy of Andrei Rublevs Trinity Icon, the restoration of a Buddha sculpture, and the rebuilding of Japans Ise shrine. In the books first section, entitled “Kamo-Hunter, ” the object of aesthetic contemplation is a white bird standing in the middle of Kyotos Kamogawa river: A bird fishing in the water: to an indifferent bystander, if he were to notice, perhaps that is all he would see—he would, however, not just have to notice but would have to know in the widening comprehension of the first glance, at least to know and to see just how much this motionless bird, fishing there in between the grassy islets of the shallow water, how much this bird was accursedly superfluous; indeed he would have to be conscious, immediately conscious, of how much this enormous snow-white dignified creature is defenseless—because it was superfluous and defenseless, yes, and as so often, the one satisfactorily accounted for the other, namely, its superfluity made it defenseless and its defenselessness made it superfluous: a defenseless and superfluous sublimity; this, then, is the Ooshirosagi in the shallow waters of the Kamogawa, but of course the indifferent bystander never turns up; over there on the embankment people are walking, bicycles are rolling by, buses are running, but the Ooshirosagi just stands there imperturbably, its gaze cast beneath the surface of the foaming water, and the enduring value of its own incessant observation never changes, as the act of observation of this defenseless and superfluous artist leaves no doubt that its observation is truly unceasing… Vision is crucial in Krasznahorkais work. Even in the sad and hilarious thirteenth section, the sole chapter of Seiobo There Below to focus on sound, the visual trumps the aural when a failed architect delivers a hysterical lecture on Baroque music to a group of elderly villagers who cannot take in the mans words, because “it was really his gut that captured the attention of the locals, because this gut with its three colossal folds unequivocally sent a message to everyone that this was a person with many problems…. ” In the Kamo-Hunter chapter, however, the white bird serves a dual function. If it were enough just to see this bird in the river, then the initial clause, “A bird fishing in the water, ” would suffice. The bird is a living work of art, but Krasznahorkai also grants the creature “the artists powers of observation, ” so that it possesses the very powers of aesthetic perception that the prose displays. From the outset, Krasznahorkai suggests that perceiving the sublime is going to take more than simply looking as we are accustomed to doing (though the indifferent bystander is incapable even of this. In The Senses of Modernism, Sara Danius reminds us that, “The etymological meaning of ‘aesthetics springs out of a cluster of Greek words which designate activities of sensory perception in both a strictly physiological sense, as in ‘sensation, and a mental sense, as in ‘apprehension. ” The indifferent bystander never turns up, but there is at least one person who perceives the Kamo-Hunter with an etymologically faithful aestheticism bordering on obsession: our narrator. In this opening chapter, Krasznahorkai caresses his white bird in mesmerizing, exhaustive prose, returning to it again and again as he weaves his way through modern day Kyoto, the “City of Infinite Demeanor. ” The above sentence continues for another half-page and is by no means one of the lengthier ones in the book (in defense Krasznahorkais long sentences, the man knows how to wield a semicolon. It is as if the author is attempting a feat of linguistic perception to rival the birds “truly unceasing” gaze of “enduring value. ” This heroic effort ensures that, in a delicious paradox, even those chapters that present failed intersections between the sublime and the human enact a level of writerly attentiveness that approaches transcendence. Let us note one further thing about this opening chapter: an adjective attached to the word beauty. “The bird is granted the artists powers of observation, ” we are told, so that it may represent “unbearable beauty. ” For Krasznahorkai, immanence is a terrifying proposition. Few of the encounters with the aesthetic sublime in this book lead to healing, redemption, or acceptance. In a later chapter, a migrant Hungarian labourers unintentional encounter with a Russian icon painting leads him to purchase a large, sharp knife. Given the volatile power of art, why would anyone desire to commune with it as intensely as Krasznahorkai and some of his characters do? Desire itself is commonly held to be the engine of the novel. It is important to remember that Seiobo is a novel, albeit one that at first glance appears to unfurl beneath an entirely different logic. For starters, the chapters are structured according to the famous Fibonacci sequence, and vary in length from eight to forty-eight pages. In the absence of a single main character, one way to connect Seiobo s episodes to a central longing is to consider what Krazsnahorkai has said previously about his writing, that the sentences “are really not mine but are uttered by those in whom some wild desire is working. ” In this sense, the most obvious desire at work would be the Bernhardian compulsion to continue speaking, narrating breathlessly before that final end stop, death, is imposed. Yet there is another, more commanding form of desire in Seiobo There Below. In a recent essay, Scott Esposito identifies in Krasznahorkais writing the aspiration to an “authority beyond the physical confines of our universe as we know it. ” Is there another living novelist of whom this could be as convincingly said? Krasznahorkais search for this level of authority allies him with the high modernism of Joyce and Rilke (think Stephen Dedaluss artist-God merging with the terrible angels of the Duino Elegies) and it may also be the driving force behind his search for transcendence in the process of making and receiving of art. There is a fine line between wanting to know God and wanting to be God, a fact which Krasznahorkai is well aware of, and exploits to his advantage. Esposito: “Modernism attempts to conflate the aesthetic with the religious. ” Indeed. The modernists desire for mastery has often been linked to the waning of traditional sacred structures in the West. In Seiobo, the European forms have long since been displaced, and it is only in Asia that we find contemporary cultures still connected to living traditions. Fredric Jameson has written that “Modern art drew its power and possibilities from being a backwater and an archaic holdover within a modernizing economy: it glorified, celebrated, and dramatized older forms of individual production which the new mode of production was elsewhere on the point of displacing and blotting out. ” Certainly, on one level, this is precisely what Krasznahorkai is engaged in. But notice Jamesons tense: Modern art drew. This quotation comes from Jamesons Postmodernism: The Cultural Logic of Late Capitalism, published in book form in 1991, when Modernism and its concerns were considered passé. What then is Krasznahorkai up to? Is he merely inhabiting an unproductive nostalgia for the past? Why cant we shake our desire for wholeness? Perhaps, as Gabriel Josipovici has argued persuasively, Modernisms concerns need to be understood not as belonging only to a particular era, but “as the coming into awareness by art of its precarious status and responsibilities, and therefore as something that will, from now on, always be with us. ” This is ultimately the reason why a book that examines the notion that the divine inhabits certain aesthetic objects can feel both epically, off-the-radar strange, and at the same time perfectly relevant. That Krasznahorkai successfully traces this inexplicable presence through a sixty-four clue Italian language crossword puzzle, the making of a Noh mask, and across a twenty-three page single sentence essay on the mysteries of the Alhambra is evidence of an astounding ambition and mastery. Here we are solidly in the realm of what Steven Moore would call “the novel as a kind of delivery system for aesthetic bliss. ” [3] But Krasznahorkai doesnt just dazzle, he terrifies. By the final chapter, Seiobo There Below has accumulated a horrifically beautiful, almost unbearable force. Writing about William Goldings Pincher Martin, Josipovici notes that the traditional purpose of fiction is to protect us from the reality of our deaths. Krasznahorkai strips this protection away. The reality of death is often close at hand in Seiobo; many of the encounters with art bring a sharp awareness of mortality. For Krasznahorkai, the mystery of art is the closest thing to truth that we can glimpse, aside from death. (Perhaps it is no coincidence that these days we have less and less attention to give to either. At the end of the Kamo-Hunter chapter, our narrator advises his bird on the wisest course of action: It would be better for you to turn around and go into the thick grasses, there where one of those strange grassy islets in the riverbed will completely cover you, it would be better if you do this for once and for all, because if you come back tomorrow, or after tomorrow, there will be no one at all to understand, no one to look, not even a single one among all your natural enemies that will be able to see who you really are; it would be better for you to go away this very evening when twilight begins to fall, it would be better for you to retreat with the others, if night begins to descend, and you should not come back if tomorrow or after tomorrow, dawn breaks, because for you it will be much better for there to be no tomorrow and no day after tomorrow; so hide away now in the grass, sink down, fall onto your side, let your eyes slowly close, and die, for there is no point in the sublimity that you bear, die at midnight in the grass, sink down and fall, and let it be like that—breathe your last. It is possible, of course, that art will one day no longer be with us, but it is more probable that we will no longer be with art. When there is no one left who knows how to perceive a work, then it may well as crawl off and die, like the white bird that opens Krasznahorkais book. But we have not reached this point yet. Against the odds, making and perceiving continue.  –  Eric Foley Seiobo There Below begins with a bird, a snow-white heron that stands motionless in the shallow waters of the Kamo River in Kyoto with the world whirling noisily around it. Like the center of a vortex, the eye in a storm of unceasing, clamorous activity, it holds its curved neck still, impervious to the cars and buses and bicycles rushing past on the surrounding banks, an embodiment of grace and fortitude of concentration as it spies the water below and waits for its prey. Weve only just begun reading this collection, and already László Krasznahorkais haunting prose has submerged us in the great panta rhei of life—Heraclituss aphorism that everything flows in a state of continuous change. But the chapters of Seiobo There Below are not really independent stories; rather, they form a precisely composed sequence of illuminated moments that are interconnected in many complex ways. Of these, “Kamo-Hunter” is the only one that does not describe a process of artistic creation, but a birds (and by implication the narrators) power of focus, the heightened state of awareness necessary to stem itself against the wind and resist the pull of the current to remain perfectly still until the moment arrives to snatch up its prey. And suddenly its less a matter of the ceaseless movement of all things, but of absolute composure, a deepest possible being in the present tense, a kind of timelessness in which the moment and eternity conjoin to create a brief flash of transcendence. It is about “one time, immeasurable in its passing, and yet beyond all doubt extant, one time proceeding neither forward nor backwards, but just swirling and moving nowhere. ” This, in short, is the nature of the concentration required to create art—and what makes “Kamo-Hunter” such a cogent opening to this novel. After the publication in English translation of Satantango, The Melancholy of Resistance, and War and War— which together with Seiobo There Below constitute an important cross-section of Krasznahorkais prodigious literary output—his bleak outlook on a human history bent on calamity has become legendary. In an interview published in 2012, he expresses doubt that the human race will survive another 200 years. Regarding our collective ability to alter this course, his prognosis is less than optimistic as he calls the authority of literature itself into question: “This kind of communication is really over and done with. Its disappearance is a rather obvious process; it is happening faster at some points of the world than at others. Im afraid this kind of literature is not sustainable. ” To compound the matter, as the incessant onslaught of information fragments our attention on a daily basis, it has to be said that reading Krasznahorkai is not particularly easy, even given the seductive nature of his prose. Moreover, with Seiobo There Below, he has set himself the task of writing about something that is essentially impossible to formulate in language. We are no longer accustomed to using words like “illumination, ” “transcendence, ” or “epiphany”; indeed, in our secularized Western world they can sound embarrassing and even ridiculous. Yet his is a language that flows in liquid state, eddying around obstructions to form vortices of swelling thought in which the consistency can suddenly gel, become viscous—and all at once, the writing embodies precisely what it describes as these endless, spell-binding sentences gradually alter our perception and prepare us for a brief glimmer of something outside ourselves, something that can perhaps explain us to ourselves. Seiobo There Below is a novel comprised of seventeen chapters numbered according to the Fibonacci series, by which each consecutive number is the sum of the two preceding it. And indeed, in a larger sense, each section seems to be part of a hidden pattern that expands in an unexpected manner. The series, which describes the progression of the spiral, the unfurling of a fern, the arrangement of leaves on a stem, and countless other natural sequences, quickly accretes from 1 to 2, 584, the number given to the books seventeenth chapter. There is, however, a small but significant difference here: perhaps in light of the ontological quandary the leap between nothingness and one implies, Krasznahorkai has not begun his collection with zero. The subject matter expounded upon in this book ranges from Eastern aesthetic and religious traditions such as Japanese Noh theater and the Shinto rituals governing the rebuilding of the Ise Shrine every twenty years to Byzantine icon paintings; Baroque music; works of the Italian Renaissance; and the mathematical mysteries of the Alhambra and their links to crystal formations, “forbidden symmetry, ” and the tessellations of Penrose tiling. There is nothing postmodern about this whatsoever; Seiobo There Below is anything but an accrual of arcane information or a piling up of cultural artifacts. As Krasznahorkai patiently enumerates the many consecutive steps of a process of artistic creation in lengthy excursions on handicraft and religious ritual, we are called upon to negotiate the distance between the wealth of historical material and the deluge of foreign terms this book supplies, and the Zen-like focus required to comprehend the transcendent states the rarefied aesthetic and religious traditions he describes invoke. There are numerous parallels in motif throughout the books individual chapters, among them the nature of authorship and the original, the complicated ramifications of restoration, and the history of a works reception, to name but a few; more than anything, however, this is a book about the sacred—and its embodiment in some of the most compelling works of art human civilization has produced in recorded history. As the mystic Simone Weil observed in her meditations on faith, If sometimes a work of art seems almost as beautiful as the sea, the mountains, or flowers, it is because the light of God has filled the artist. In order to find things beautiful which are manufactured by men uninspired by God, it would be necessary for us to have understood with our whole soul that these men themselves are only matter, capable of obedience without knowledge. In other words, the beauty of the divine can pass through them and manifest itself even when they are “sleeping. ” Seiobo There Below describes methods of artistic handicraft so rich in tradition and so highly ritualized that the full conscious participation of the acting agency, that is, the person or persons physically doing the work, is not entirely necessary. Its not a matter of personal creative expression or vision, but the sense of the artist as conduit, a vessel through which a meaning far larger than the artists individual understanding passes from a higher source. Painstaking descriptions of elaborate preparatory rituals abound; the vessel must be purified, the caldron must be turned upside down and emptied of its contents before it is worthy of holding the sacred meal. Approaching this process from a far less mystical perspective, the phenomenologist Mikel Dufrenne wrote that “even if meaning is not constituted by man, it passes through him. But it may not be enough to say that nature is expressed by the artist. Perhaps we should rather say that it is by means of the artist that nature seeks to express itself. ” Creative activity, then, requires a removal of the self, a minimizing of interference on the part of the ego to maximize human receptivity to a natural or divine truth that is then expressed in an aesthetic form accessible to human perception. Needless to say, Seiobo There Below is a work of metaphysical content. Just as the first chapter is the only one not to be told from the point of view of a maker or viewer of a work of art, “The Life and Work of Master Inoue Kazuyuki” is the only one narrated, in part at least, from the perspective of a deity. During a performance of traditional Japanese Noh theater, the goddess Seiobo leaves her heavenly realm to descend to Earth and inhabit the actor on stage: you have to know that your own experience in this is crucial. for everything occurs in one single time and one single place, and the path to the comprehension of this leads through the correct understanding of the present, ones own experience is necessary, and then you will understand, and every person will understand that something cannot be separated from something else, there is no god in some faraway dominion, there is no earth far from him here below, and there is no transcendental realm somewhere else apart from where you are now, all that you call transcendental or earthly is one and the same, together with you in one single time and one single space... As the mind ceases to search for something outside itself, time stands still: it is this moment of comprehension, this encounter with immanence that Krasznahorkai approaches again and again throughout the novel. And again and again, the world foils this endeavor. The distance between everyday life and the sacred is vast. Many of the profoundest masterworks of the past required prayer and ritual to prepare for their creation; these did not merely fulfill a symbolic function, but laid the ground for the divine to enter physical matter in a very real, theophanic sense. Belief is the essential prerequisite, and when the self is deemed not worthy enough to act as a channel for manifestation, the failure can spell disaster. In “A Murderer is Born, ” Dionisy, the Byzantine master commissioned to paint a copy of Andrzej Rublevs famous Troika —not, that is, a copy as we understand it today, but an identical work consecrated upon its completion by a bishop and thereby acknowledged as genuine—has fallen prey to self-doubt, for surely Dionisy knew better than anyone else that if the soul did not feel what Rublev did in that time, then he himself would certainly end up in Hell, and the copy would come to nothing, because it would be just a lie, a deceit, a mystification, just an ineffectual and worthless piece of trash, which would then be placed in vain in the Sovereign Tier of the churchs iconostasis, in vain would it be placed there and worshipped, it would not help anyone and would only lull them into the delirium that they were being led somewhere. Conversely, as painstakingly described in “The Preservation of a Buddha, ” a lengthy and intricate ceremony must be performed to divert the divine light from the eyes of the Amida Buddha statue of the Zengen-ji Monastery to permit its being transported for restoration. The day the Hakken Kuyo ritual is to commence, the abbot gives the order for the monastery gates to be closed; there are countless prayers to be chanted, the musicians must perform at exactly the right moment, there is the Incense-Lighting Hymn, the Invocation, the Triple Vow, the greeting of the Zengen-ji Bodhisattva, the Prayer of the Sangharama. The temporary removal of the gaze from the Buddhas eyes constitutes the deepest meaning of a secret ceremony many of the participating monks are not even privy to. When the Buddha arrives at the National Treasure Institute for the Restoration of Wooden Statues in Kyoto, the master informs his workers that they are holding this divine gaze within their souls as they individually labor over the conservation of the dismembered statue. One year later, upon the Amida Buddhas return to the monastery, the ritual for restoring the divine light to the statue is even more elaborate than the first; it signifies nothing less than a renewal of faith, a prayer that “this treasure-laden throne shall be resplendent until the end of time, when the body itself shall vanish, and that the light between the Buddhas eyebrows may once again issue forth, and that one ray of this light may spread across the entire Realm of Dharma. ” Each part of Seiobo There Below revolves around an encounter between the sacred and the profane. Often, the character whose lot it is to experience a manifestation of the immaterial has not only not been seeking it, but is horrified by the experience, forced to flee from it. In “A Murderer is Born, ” the Hungarian drifter stranded in Barcelona who has wandered by chance into an exhibition of Russian icon paintings reluctantly stops before Dionisys Troika, as though summoned by its three winged figures. He is afraid to look at them, and when he does, he suddenly understands, dumbstruck, that they are real. Yet they do not bring him salvation or grace, but delirium; they are the annunciation of his demise. This is one of many parallels Krasznahorkai constructs throughout the novel. Although the drifter is in need of a miracle to save him from his hopeless situation, he is persecuted by the vision he has. The fatal dissonance that marred the creation of the work of art meets with a corresponding dissonance in its reception. It is as though Dionisys crisis of faith had imbedded itself into the painting centuries before and remained there, waiting for the drifter—as though the two were indissolubly bound together. Furthermore, Casa Milà, the opulent building housing the exhibition, is an apt setting for the encounter: Gaudí, a devout Catholic, had considered abandoning the project when he was prevented from adding the statuary hed planned to integrate into the structure, which included Our Lady of the Rosary and two archangels. Against the convictions of his faith, he was nonetheless persuaded by a priest to carry the work to conclusion. Krasznahorkai proposes the notion of art and the artwork as the dispatcher of a curse, whereby wavering belief and the mishandling of aesthetic power necessarily lead to destruction and ruin. Although not always on this order of magnitude, the relationship between the creation and reception of a work of art in Seiobo There Below is invariably tense and mysterious. In the best sense, we are pilgrims; in the worst, tourists. The visitor to Venice in “Christo Morto” finds himself in an embarrassing position: to allow the soles of his black leather oxfords to last longer, he has fitted them with metal taps that cause his footsteps to resound deafeningly in the afternoon siesta silence of Venices narrow alleyways. He has come to revisit a single building, the Scuola Grande di San Rocco, and his purpose prompts him to set himself apart from the ordinary tourist: “He was not one of those who kept coming back here again and again, in pursuit of so-called illusory pleasures, giving himself over to the blank drift of superficial and frankly idiotic raptures—he was not in any way like one of them! ” Eventually, his conspicuousness gives way to paranoia: he imagines he is being followed by a stranger with an odd, S-shaped body, a kind of serpent that symbolizes the city itself: he did not love Venice, he was instead afraid of it, the way he would be of a murderously cunning individual who ensnares his victims, dazing them, and finally sucking all the strength from them, taking everything away from them that they ever had, then tossing them away on the banks of a canal somewhere, like a rag... The travelers journey to see a particular painting, one that holds deep personal meaning for him, becomes a kind of perilous odyssey he barely survives. Similarly, in “Up on the Acropolis, ” a visitor to Athens makes his way through the scorching heat and maddening traffic of midday Athens, all the way from Syntagma Square through the Plaka, on foot, to behold, in person, what he has dreamed of seeing for his entire life: the Parthenon, the Propylaea, the Temple of Nike, the Erechtheion. He has forgotten to bring water with him; more importantly, he has forgotten sunglasses. Still optimistic before ascending the hill, he eventually succumbs to despair when the blisters on his feet and the inability of his eyes to adjust to the dazzling sunlight glaring off the white limestone ground render him unable to see anything at all: “. like a blind man, he felt the path before him with his foot, as it was utterly impossible to look up by now, just as it was even to glance upwards, tears rolled down from both of his eyes. he then understood that what he had come here for would remain forever unseen by him. ” The implication is that its not merely his actual eyesight that is failing him, but his innate ability to absorb a cultural and religious truth that has already receded beyond the point of intelligibility. Throughout this novel, the sacred has either grown indecipherable, has turned into something too powerful for the modern world, or has vanished altogether, having understood that it is obsolete and unwanted. When the man in “Christo Morto” revisits a painting of Christ he has seen only once before, he undergoes a profoundly disturbing experience. Throughout the entire day he has been haunted by an article he read that morning in La Corriere discussing the papal position on heaven, hell, and purgatory; he has learned that Benedict XVI, in contrast to John Paul II, regards hell not as a symbol or metaphor, but as something physically real. The newspaper headline—“HELL REALLY EXISTS”—hounds him. And staring now at this painting of Christ, whose eyes begin to open in profound, boundless sorrow, he understands that the true meaning of Hell is not the mere damnation of the individual soul, but an actual withdrawal of God from the world. Ottilie Mulzet, who has translated Seiobo There Below expertly into English, has observed: part of the power of these narratives is that they explore the sacred—or rather the complete and total lack of the sacred in the present time through the lens of all these different cultures. And the answer is always the same: we have lost touch with it, we dont want it, we have become too weak to bear it, or that the sacred itself, abandoned for all time, just wants to disappear. If Krasznahorkai is saying that the relationship to the divine through art is on the brink of extinction, this book would essentially be a modern tragedy about the failure of civilization to redeem humankind and hence both an affirmation of the sacred and the simultaneous announcement of its demise. And because this is Krasznahorkai, there is the undeniable, brooding sense that the world is coming to a shabby and unspectacular end that makes for a rather pitiful apocalypse of the blind, amnesiac, numb, and brutal. But there is also a bleak humor running throughout the book, and the impossible figure of a hobby lecturer on baroque music in a village library can be seen as a parodic self-portrayal as well as a tribute to the elderly apodictic protagonist of Thomas Bernhards novel Old Masters. While Krasznahorkais prose recalls Bernhard in certain obvious ways, and the two have been frequently compared due to their exasperatingly long sentences, or their spiraling syntax, this is where the comparison ends. Bernhards vehicles are rant and invective; Krasznahorkais is compassion, the actual identification with the suffering of another. His characters are invariably outcasts, untouchables society has expelled—and for good reason. His compulsion is to plumb the soul of the pariah to tap into the inscrutable darkness at the heart of the universal human condition. Seiobo There Below is a profoundly European book. In a certain sense, it is a farewell to the Occidental world as it has endured in a cultural counterbalance with the Orient. It is also a last look at the West in the eyes of an Eastern European who has witnessed the rapid spread of capitalism at close hand, the irony with which it has left us with one vast “West. ” Following the fall of the Berlin Wall, Krasznahorkai embarked on protracted travels throughout Asia. He has engaged in a profound intellectual involvement with the cultures of the East, particularly Japan and China. His book Destruction and Sorrow beneath the Heavens, forthcoming from Seagull Books, documents the disappearance of the last traces of ancient Chinese culture on the very brink of the economic boom. Anglophone readers of Krasznahorkai will be familiar with the trope of the individual from a former dictatorship who is too scarred to bear the sight of beauty; the systematic humiliation and deprivation he has been subjected to have brought about a coarseness and vulgarity, a loss of dignity and self-respect that renders the search for truth meaningless and even dangerous. Here, however, it is more a matter of indifference towards a four-thousand-year-old history that is increasingly being forgotten. In his essay “About Gods Bereft of their World, ” Sándor Radnóti asks if Seiobo There Below is a “new version of art as religion” or “a kind of exclusive personal and artistic travelogue” describing a collection of “specimens of the total (high) culture which functions as the foundation stone of a syncretic religion, whose inspired prophet is the author himself. ” Of the recurrent figures in Krasznahorkais writing, i. e. the Prophet, the Archivist, the Observer, or the Seeker, it is the false prophet whom Radnóti interrogates—and his skepticism reveals the degree to which he takes the author at his word. This and other essays comprise the wealth of critical analysis and material hitherto unpublished in English translation contained in Issue Two of the arts magazine Music & Literature. Devoted to Krasznahorkai, director Béla Tarr, and German visual artist Max Neumann, the issue is an essential and comprehensive resource that brings together numerous in-depth investigations into Krasznahorkais overall literary project that illuminate his development throughout the past thirty years. In the interview quoted above, Ottilie Mulzet, who has tackled the problem of transferring a literary form encased in a “fragile, faraway language” such as Hungarian (not to mention a Central European culture largely unknown beyond its borders) of capturing the “multidirectional quality” of his syntax and translating it into a world language such as English, offers intimate insight into Krasznahorkais language and oeuvre. Also among the essays in this issue is an astonishing text by David Auerbach titled “The Pythagorean Comma and the Howl of the Wolf” that examines the “Werckmeister Harmonies, ” the central section of The Melancholy of Resistance (and of the film it gave rise to) specifically the keyboard tuning that serves as the essential metaphor for the entire book. At stake is a minimal departure from the absolute purity of musical pitch—and whether “what is clearly a spiritual experience. has any real connection to the cosmos and the world. ”. It is generally considered plausible today that human aesthetic activity can be traced back to the visionary. Scientific evidence suggests that human consciousness underwent a profound change around 40, 000 years ago, when our Paleolithic ancestors first began painting in caves. The images they produced, among them spirals and geometric shapes, bear resemblance to entoptic phenomena, or the images the human mind perceives under the influence of hallucinogenic substances. This suggests an early relationship between the making of objects/images defined as “art” and altered states of consciousness—whether attained through psychoactive substances or through prayer, meditation, or ritualized dance—that has existed since human beings first began engaging in what we call aesthetic activity. The birth of art, then, may have derived from a need to portray not the animals of the hunt or other everyday occurrences, but the luminous and powerful images perceived within the human mind; in all likelihood, it is inseparable from the birth of mystical experience. But this is not merely an obscure phenomenon of the distant past. As mathematicians and physicists succeed in locating human consciousness in the interface between quantum physics and molecular biology, science is at the vanguard of a discourse that has traditionally been arts domain. In analyzing the fundamental historical differences between Eastern and Western conceptions of the sacred, Krasznahorkai reminds us that much of what we call art today has left the realm of communal experience and has ceased to be the vehicle or language humans use to communicate essential, ineluctable truths. As he explores under what conditions the sacred might still be perceived in art, he also, by implication, examines the possibility of meaningful aesthetic activity in contemporary times. The project to reclaim arts essential role in formulating the basic questions framing our existence is more modern than ever, perhaps even radically so. Seiobo There Below does not propose a new kind of pseudo-religion or the apotheosis of the artist as divine genius. Nor does it announce the death of art. There is too much crystalline joy in the writing, too much devotion in the excursions on artistic method and technique, too much humble exactitude in the portrayals of religious ceremonies. In “The Preservation of a Buddha, ” as the elaborate ceremony to restore the divine light to the eyes of the Amida Buddha is nearing its final moments, “there is something now in the Hall which is difficult to put into words, but everyone present can sense it, a sweet weight in the soul, a sublime devotion in the air, as if someone were here, and it is most evident on the faces of the non-believers, the merely curious, the tourists, in a word the faces of those who are indifferent, it can be seen that they are genuinely surprised, because it can be felt that something is happening, or has happened, or is going to happen, the expectation is nearly tangible. ” The question as to whether or not Krasznahorkai believes in or shares the metaphysical and religious experiences he describes is largely irrelevant in light of the fact that, for the attentive reader, the accumulative force of his words bring about the selfsame effect he takes such pains to describe. At its core, Krasznahorkais writing is always, deeply, ambiguous. - László Krasznahorkais  Seiobo There Below has been hailed as a book about the sacred. For the fictional artists described in the collection, transcendence comes through the act of creation. In one story, a Japanese theatre master takes the stage and feels the goddess Seiobo coursing through him. In another, a maskmakers chisel moves nearly of its own accord, fashioning a series of wooden faces that are almost alive. But Krasznahorkai also turns his attention to another genre of protagonists: average people who encounter the sacred, completely unequipped to contend with its impact. While the books artists find transcendence, other protagonists experience utter bewilderment — and their crisis is the focal point of the 17 stories in  Seiobo There Below. Seiobo  translator Ottilie Mulzet notes in her interview with Krasznahorkai that he addresses what has effectively become taboo: “The question of ‘sacred in a world which has no need for it anymore. ” The Hungarian authors works are known for their promise of higher meaning and their tendency to approach, but never quite reach, resolution. Krasznahorkais previous titles in English ( War & War,  The Melancholy of Resistance, and  Satantango) earned critical recognition from Susan Sontag and James Wood for their strange, apocalyptic impression. Rife with peculiar characters and sealed into sophisticated structures ( Satantango  adopts the form of the tango dance, while  Seiobo There Below, though billed as a novel, presents distinct stories numbered by the Fibonacci sequence) Krasznahorkais fiction makes contact with the otherworldly. But the stakes are higher in  Seiobo There Below. For one, the global nature of the collection is a marked departure from Krasznahorkais former English-language releases. The novels that earned him his reputation in America were texts with deeply Hungarian roots.  The Melancholy of Resistance  and  Satantango  were both set in crumbling Hungarian villages;  War & War  featured a Hungarian protagonist newly moved to New York City.  Seiobo, in contrast, spans locations from Kyoto to Persia and Perugia. Its narrative voices are equally diverse; we hear from a nascent murderer, a fanatic lecturer on Baroque music, a Parisian museum keeper in love with the Venus de Milo. Moving beyond localized meaning, the stories challenge us to examine the psychology of our moment, a time in which our inability to understand the sacred paralyzes us in its presence. This bewilderment manifests itself in several narratives of Western European travelers knocked spiritually unconscious by the impact of sacred art. In “Christo Morto, ” a traveler is drawn into Venices Scuola de la Roca to revisit a painting of Christ he had seen 11 years prior. He witnesses the image of Christ opening his eyes and is frozen by disbelief: BUT HE IS OPENING HIS EYES, he registered within himself; then again he tried to muster the courage to fix his gaze onto the two eyes of Christ, BUT HOW DARK are these eyes, it was spine-chilling, as although NOW THEY REALLY WERE ALMOST COMPLETELY OPEN, you could hardly see the pupils, and nothing in the white of the eyes, it was completely clouded, a dark obscurity lay in these eyes…and here is Christ REALLY AND TRULY The capitalization, the quick cadence of thoughts, the terror in beholding the eyes: this mans franticness is palpable in the text. Bewildered, he sits and stares, then decides to turn away from the painting and leave the Scuola in hopes of dismissing such terrible thoughts. But the last line of the story — “For him there would never be any exit from this building, not ever” — reveals the inescapability of his new, disoriented state. The next story, “Acropolis, ” reiterates this feeling of bewilderment. The protagonist of the tale journeys to Athens fulfill his lifelong wish of visiting the ancient site. He arrives at the site only to find the limestone so bright that his eyes ache and tear. Unable to bear its radiance, he stops his ascent in pain and bitterness, asking himself why no travel guide, no art historical account, had warned him about the blinding light. His bewilderment grows from the expectation that he could have foreseen, let alone overcome, this trial. How could he have known the luminosity of this place? Not all characters in  Seiobo There Below  reveal such blatant bewilderment. Several try to understand the sacred by cycling through methods tried and true: scholarly intercourse, scientific inquiry, mathematical analysis. Ironically, the characters who pursue answers down these clear pathways are among the most disconnected. At intervals throughout “Christo Morto, ” for instance, we learn about an art historian who had tried to restore the Scuolas painting of Christ. She brings the painting to a chemical restoration workshop in hopes of discovering the original artist, a mystery over which the board of San Rocco holds its breath. When the chemical restorer X-rays the image and examines the gesso, he finds an underwhelming signature. The painting is left half-forgotten in a small corner display. The art historian is so focused on the works scholarly evaluation that she misses the essence of the painting. This intellectually fueled oblivion percolates through the stories. When a European scholar tries to study the rebuilding of Japans Ise Shrine, she misunderstands the tradition to such a point that she obscures the rites actual meaning. When a group of travelers camps out in the Carpathians to foster creativity, they grow so preoccupied with their routine that the true artist among them — an elusive man who carves an enormous earthen sculpture — becomes a spectacle. As one bewilderment follows another, the repetitions themselves start to hold higher meaning. The arrangement of narratives into the Fibonacci sequence is no coincidence. Like the mathematical series, the stories in  Seiobo There Below  evoke a spiral, both recursive and unexplainable. Plots reoccur, protagonists resemble each other, and narrators repeat phrases as they circle around the topic at hand, always one inch short of final revelation. As one narrator remarks, “Not to know something is a complicated process, the story of which takes place beneath the shadow of the truth. ” This is the philosophy of  Seiobo There Below.  László Kraznahorkai has given us a work that shimmers under a prism of hidden meanings. Our task is to connect the dots, experience the mystery of the text, and embrace moments of bewilderment with patience, openness, and preparation for a deeply meaningful encounter. Stephanie Newman Hell is oneself. Or, if you like, Hell is other people. Either way, Hells Modernist vanguard—lets say Beckett, Sartre, and Eliot—moiled in darkness long enough to recover the bad news and bring it to daylight. Their message? Hell will last as long as we do. Even as their more lighthearted disciples wrung the hereafter, drop by drop, of its holy water, these true believers never sinned against the Dantean orthodoxy that preaches Hells totalizing hopelessness. It is worth noting, after all, the titles of their best dramas— Endgame, No Exit, and The Cocktail Party —are euphemisms for Hell. The Modernists found their most potent expression of Hell in drama, or more specifically, the scene. For Hells vanguard, the scene as a form preserves the weight of its etymological origins, implying a stage as much as a unit of dramatic time. It was left to Beckett and Sartre to defamiliarize the scene by literalizing it; only then could it become a symbol for centurial ills. Once its exits were blocked—its spatial and temporal limits made literal—the scene transmuted into paradox: a closed loop, a machine of surveillance and its attendant nausea, an orchestra of trapped bodies that played out the fears of a crowded, exhausted world. With Becketts Endgame, the scene reached its endgame. Once a chamber, then a cell, the scene became Hell:            HAMM:                    Stop! Clov stops chair close to back wall. Hamm lays his hand against wall. )                    Old wall! Pause. )                    Beyond is the…other hell. ✖ No contemporary writer has tarried in literary Hell more faithfully—or more convincingly—than the Hungarian novelist László Krasznahorkai. In the almost thirty years since his first novel, the infernally-titled Satantango, Mr. Krasznahorkais vision of society as an inescapable Hell of its own design has never lapsed. It is an ever-expanding world of deceit and human folly, one spun by interminable sentences that spread quaquaversally, like wild flames, scorching hope wherever it writhes. True to Beckett and Sartre before him, Mr. Krasznahorkais Hell always manifests itself as a scene or closed circle. Though these closed circles are of human design, they are populated by demons who are paradoxically all too human. These demons, themselves deeply acquainted with Hell—the closed circle that never opens—choreograph set pieces of swindle and deceit that lead innocents and the willfully gullible to inexorable doom. In this respect, Mr. Krasznahorkais work sharply recalls Pushkins “Demons, ” a poem later used as an epigraph by Dostoevsky in his novel of the same name:             Strike me dead, the track has vanished,             Well, what now? Weve lost the way,             Demons have bewitched our horses,             Led us in the wilds astray. In Satantango —which implies, yes, a dance with the devil—the closed circle is a failed farming collective lost in the mist of post-Communist Hungary. The novels foremost demon is the false prophet Irimiás, who gives pithy expression to Mr. Krasznahorkais vision in the form of a hilarious, viciously-circular address:             I see this tragedy as a direct result of your condition here, and in the circumstances             I simply cant desert you. With Mr. Krasznahorkais second novel, The Melancholy of Resistance, the closed circle snakes outward, assimilating the doomed souls of a Hungarian village. The village is roiled by the arrival of a circus that brings with it the cadaver of an enormous whale. Counterposed to the whale is the circus homuncular ringleader, named The Prince, another false prophet. The Prince orchestrates a meaningless act of mob violence, one that ruins the “half-wit” delivery boy Valuska, a Shakespearean fool who harbors ecstatic faith in the universe. As its title would suggest, 1999s War and War confirms that there is no escape from the closed-circuitry of greed and militarism that defines the globe at the turn of the century. Mr. Krasznahorkai aptly sets his novel in New York City, thought by the angelic Korin to be the center of the world. The city instead reveals itself to be a mega-Babel on the verge of ruin, on the precipice of being “brought low, ” as Korin prophecies in the final section. In the figure of Korin, the novel almost imperceptibly joins idiot with prophet, until what emerges is a Cassandra, a confounding voice whose ecstatic revelations about crumbling towers and the coming war are perilously ignored. By the time his searing prophecies become intelligible, the loop is already closed:             Korin was slowing again—but actually that was not the right word, hopeless was             somehow wrong, there was no way out of this deadly loop, since it was ready and             fully functioning in its own way, and calling it hopeless was not going to foul up             the works, quite the contrary, in fact, it would simply oil them, bring a constant             shine to them, help them to function. ✖ With Seiobo There Below —the authors latest novel, now published by New Directions and expertly translated by Ottilie Mulzet—the closed circle, the terrible web of human folly, has expanded to include several historical periods strewn with innumerable depictions of ascetics, murderers, gods, and artworks of terrorizing beauty. Only it is at first difficult to give name to this circle because the title and the first chapter and even the formal structure of the book amount to a demonic ruse, one that tricks the reader into believing he will bathe in the springs of Eastern transcendence. The title itself hints that the goddess Seiobo will descend unto the earth below, that she will count the rhythm of mortal life against the untroubled silence of the eternal. Krasznahorkais ruse is abetted by anecdote: we know that the novelist spent the last decade traveling throughout Asia, especially Japan and China, where, in search of the sacred, he observed Noh masters and ancient statues of the Amida Buddha. It would appear from the preliminary evidence that Mr. Krasznahorkai has shed the disciplined madness of his storyteller—the one who brought us so much chaos—for the impartial gaze of the goddess eye. The narrator of Seiobo begins by contemplating the cadences of nature by way of a serene lilt, one that matches the flow of the Kamo River and observes the Ooshirosagi, a white bird poised in an S-curve that no sculptor could render:             …and even the entirety of words that want to describe it do not appear, not even             the separate words; yet still the bird must lean upon one single moment all at once,             and in doing so, must obstruct all movement: all alone, within its own self, in the             frenzy of events, in the exact center of an absolute, swarming, teeming world, it             must remain there in this cast-out moment, so that this moment as it were closes             down upon it, and then the moment is closed, so that the bird may bring its snow-             white body to a dead halt in the exact center of this furious movement, so that it             may impress its own motionlessness against the dreadful forces breaking over it             from all directions… Did the fever break in Mr. Krasznahorkais prose? Gone is the vipers nest of idiots, fools, and prophets; instead there is only the bird and the river and the alien narrator. Until, from nowhere at all:             …it would be better for you to go away this very evening when twilight begins to fall,             it would be better for you to retreat with the others, if night begins to descend, and             you should not come back if tomorrow or after tomorrow, dawn breaks, because for             you it will be much better for there to be no tomorrow and no day after tomorrow;             so hide away now in the grass, sink down, fall onto your side, let your eyes slowly close,             and die, for there is no point in the sublimity that you bear, die at midnight in the             grass, sink down and fall, and let it be like that—breathe your last. Fall onto your side and die. There is no tomorrow and no day after tomorrow. Actually it is worse than this, as the reader of Seiobo will eventually learn over the course of seventeen scenes. It is worse because of Mr. Krasznahorkais ruse, which is actually a revelation of something we have forgotten. And the ruse is demonic, precisely due to what is revealed. The novelist now writes about transcendent gods because he wants to remind us that the only escape from the closed circle of human misery is the fleeting contemplation of the aesthetic sublime, one that is tied inextricably, in every epoch, to the divine. This contemplation is fleeting, he tells us, because the gods are fleeing from the Below—where we reside—which is not merely the earth but the inescapable Hell of human relations. The structural burden shouldered by Seiobo There Below is enormous; to stay true to the authors vision and ambition, the novel must erect an inescapable Hell that spans ages and contains both apogee and perigee of human creation. Krasznahorkais solution to this problem amounts to a startling formal development, at once a renovation of Dantes infernal edifice and a novelization of the closed loop developed by Beckett and Sartre. In short, Seiobo proceeds by way of seventeen scenes, each of which spins a narrative on the theme of failed transcendence. It is almost as if Mr. Krasznahorkai has condensed the architecture of his prior novels into unbearably taut episodes. And although these episodes or scenes are temporally disjointed—one may linger in fifth century Persia, the next in contemporary Japan—they form an arpeggio; only the reader cannot, until its too late, determine whether its notes are rising or falling. Of course, scenes demand players, and there is no shortage of figurative and literal actors in Seiobo. The most memorable of these is Master Inoue Kazuyuki, whose incredible discipline as a Noh master affords the novel a rare glimpse of human triumph. As his scene begins, it is impossible to tell the difference between Kazuyuki and Seiobo, the goddess whom he incarnates on the stage; Mr. Krasznahorkais prose weaves between them, penetrating the human and divine in equal measure, until it settles in the Hell below, where we learn how Master Kazuyuki once tried to persuade his family to join him in a mass suicide. Scenes, too, even as closed loops, require spectators, and, most crucially, their gazes. The word gaze abounds in Seiobo. Early, and often, the gaze is an object of discipline; it must be trained in order to sustain contemplation of the beautiful, and only in this way does the novel proffer the possibility of transcendence. Eyes in the novel overpower with their significance, especially when they peer from art works imbued with the aura of ritual, as in the case of the Amida Buddha:             …but they cannot bear to look away from Amida, for most of the believers remember             very well how the statue looked across the decades, a dark shadow on the altar, with             almost no contour, almost no light, yet now it is truly resplendent, resplendent in the             wondrous face the wondrous eyes, but this pair of eyes, if even touching lightly upon             them, does not see them but looks onto a further place, onto a distance that no one here             is able to conceive… On the other hand, the undisciplined human gaze, which it turns out, belongs to every one of us, resolves itself in the pure Hell of the other. Of course, the idea that “Hell is other people” is premised on the gaze that was so crucial to Sartres Being and Nothingness and No Exit, where the look or gaze of another is the fount of existential anxiety and dread. Allusive variations on the phrase “no exit” recur throughout Seiobo, most powerfully in the chapter titled “Christo Morto, ” which takes place in Venice and works as a comedic (if disturbing) revision of Sartres own essay on the same. In the opening section of “Christo Morto, ” the protagonist thinks that a man in a pink shirt who “gazes” at him is also trying to murder him. When he turns to look back at the man, while crossing a bridge, the “chilly sensation in his body” escalates from “anxiety” to “sharp fear. ” When the protagonist finally realizes that he is not being chased at all, he sits at a café, orders a cup of coffee, and reads a newspaper headline, one that quotes Pope Benedict: HELL REALLY EXISTS The man attempts to shrug off the headline (“theres no heaven, no purgatory, thats fine, to hell with the whole thing”) but he is plagued by the notion that he is somehow, mysteriously, “flirting with danger. ” Later he visits the San Rocco, where, like Sartre, he seeks the paintings of Tintoretto. Instead he becomes literally captivated by an anonymous painting of a Christo morto or Dead Christ—in a moment that catches Mr. Krasznahorkais sly wink to Sartre in a frieze. As the man attempts to flee the terror of the Dead Christ, to exit the San Rocco, he has no idea that for him “there would never be any exit from this building, not ever. ” ✖ While contemplating a novel with its own Cristo morto —Dostoevskys The Idiot —Walter Benjamin once noted that “the concept of eternity negates infinity. ” It is now obvious that Seiobo There Below is the purest expression of this principle in contemporary literature, especially if we take “eternity” to mean “unending Hell. ” To illustrate the way Hell eats infinity, Mr. Krasznahorkai embellishes his novel with a cruel joke. Its sections are arranged according to the Fibonacci sequence, a series where successive integers are always the sum of the prior two. The Fibonacci sequence is often rendered visually as a spiral, toward infinity, and this optimistic picture is routinely paired with the observation that the ratio between two Fibonacci numbers is very near what we have come to know as the Golden Ratio, that mathematical foundation of uncountable human masterpieces in architecture, painting, music, and more. Of course, the novel reminds us again and again that such aspirations toward infinite expression are bound to be lost in the eternal sway of human lunacy. It is just as probable, anyway, that the infinite spiral implied by the Fibonacci sequence points downward, to the Below. The penultimate chapter of Seiobo, “Zeami is Leaving, ” ends with a corpse. The final chapter, “Screaming Beneath the Earth, ” as the title suggests, is nothing but pure Hell, one that plays out the Mephistophelian joke begun with the Fibonacci sequence:             …they are hidden deep below the earth in the darkness, and with their mouths             open wide they scream, the graves they were meant to serve collapsed onto them             long ago; and collapsing in layers, buried them completely, so that they became             walled into the earth, among the stolons, the ciliates, the rotifers, the tardigrades,             the mites, the worms, the snails, the isopods…and before their cataract-clouded             bulging eyes could stare, for the earth is so thick and so heavy, from all directions             there is only that, everywhere earth and earth, and all around them is that impen-             etrable, impervious, weighty darkness that lasts truly for all time to come… Mr. Krasznahorkais pyrexic prose, with its aleatoric yet precise movements through matter and consciousness, retained its heat even as it expanded beyond the Hungarian deadfall, from Satantango to War and War. Yet nothing could have prepared the reader for the boundless scope and unerring erudition of Seiobo There Below. As it shifts from epoch to epoch, meditating on temples, ancient statues, masterworks of painting and architecture, Baroque music, and the abstemious will required to craft and absorb such wonders, the narrative works to overpower familiar arrangements of the novel. As an act of sustained literary creation, as an astonishingly new rendition of Hell—we can say, without fear of infamy—it possesses few if any rivals in the contemporary scene. -  Jonathon Kyle Sturgeon These stories are about the sacred. Their high artistic character is not in question for a single moment: the flow of the sentences, frequently continuing over pages and broken up only by commas, is captivating; the stories forceful progression toward the moment when the sacred appears is masterly; the connection of the separate sections by a half-concealed group of motifs and their arrangement into a Fibonacci sequence are irresistible. As if this achievement were not enough, after two or three stories an unnameable, haunting quality, beyond all the beauty of mere appearance, emerges from the aesthetic pleasures offered by Krasznahorkais unusual prose. We sense how the stories challenge us as readers; we begin to argue and debate with them. Are they right, or are we? “They” are the Russian Orthodox monks under the spell of icons, the Japanese Buddhists under the spell of a Buddha statue, the despairing Westerner unexpectedly under the spell of a Renaissance Christ. With Krasznahorkai, something has returned to art that was taken for granted and considered essential by Dostoevsky, and that has since then become more than a little diluted: the question leading toward the truthfulness of life. Krasznahorkai brings his enlightened, relativist present-day Westerners, alienated to a greater or lesser degree, face-to-face with the absolute demands that the sacred makes of existence. The medium through which the sacred speaks in his work is the sacred art of the past, approached in stories that, by the authors account, often have an autobiographical basis. Readers who may themselves be indifferent to religion will not find themselves repelled by this book, with its breathtaking diagnosis of the times. For Krasznahorkai is no preacher: the dimension in which he works is one of questing, inquiring, doubting. Any overweening earnestness is undercut with the irony that accompanies his often eccentric seekers on their path. And he evades the greatest danger of all, inflated pathos, with the most surprising of his stratagems: while he writes of art purely as an expression of the sacred, he does so in the unemotional key of a scholarly expert discoursing on the technical aspects of art history. Hence the Russian icons are, on the one hand, windows through which there shines a world beyond this one, and through which we may gain visions of the hereafter, yet, on the other hand, the religious narrative is directly confronted with a strikingly well-informed art-historical essay on the traditions and techniques of icon painting. The luminous inner view and the profane external perspective of the holy are assigned a particularly convincing opposition in the story “He Rises at Dawn. ” It describes the work of mask-carver Ito Ryosuke over a period of almost two months completing a Hannya mask for the Noh play Aoi no Ue. We witness every one of the minute steps in this procedure, in great detail and with atmospheric intensity, from the transfer of the stencil lines onto a piece of hinoki cypress wood until the completion of the masterpiece, which marks “[that] his hands have brought a demon into the world, and that it will do harm. ” For his work, the carver withdraws into a wooden box he has made, to have perfect silence and seclusion. And yet it is not altogether certain who exactly is performing the work. For the carver does not think or plan anything;  “within him there is no desire for the exquisite”; “his head is as empty as if he had been stunned by something, only his hand knows, the chisel knows why this must happen. ” Only his hand—and his eyes. Again and again, he holds the mask-in-progress at arms length, comparing it with the stencil and with two photographs inside his work box: “this is the model, the ideal to be sought, this is what he must, in his own way, be equal to. ” A time comes when his hand and eyes are no longer equal to the task unaided, and he lends support to his eyes with a “system of mirrors, ” tilting and revolving mirrors which he installs around the box. This gaze is contrasted with the external, intellectualized perspective of Western visitors, who pester the carver with “dreadfully tactless questions. ” The Westerners want to know “what is the Noh, and what is the meaning of the hannya-mask, and how can there be ‘something sacred from a simple hinoki tree. ” To the carver, their interrogation is a confusing tangle of questions, to which he can only stammer the briefest of replies: “…he does not occupy himself with such questions as what is the Noh, and what makes a mask ‘spell-binding, he merely occupies himself with doing the very best he can within the limits of his abilities, and with the aid of prayers recited secretly in shrines, he only knows movements, methods of work, chiseling, carving, polishing, that is to say, the method, the entire practical order of operations of tradition, but not the so-called ‘big questions. ” In this way, the story reflects a certain polarity of East and West, at once steeped in the ethnographic nature of a craft and at the same time religious. The hand and its unconscious actions appear in opposition to the head and its questions about meaning; we find here the contrast of intellectual reflection and the external reflection from the system of mirrors. Indeed, most of these stories revolve around fundamental issues in philosophy. One of Krasznahorkais protagonists, at loose ends, attempts by a superhuman effort of the will to see the Acropolis on a hot summers day. But he sees nothing at all, blinded by the glaring sunlight and his own sweat, and at the end of the story he decides to return to a group of Athenian friends who have renounced all strivings of willpower and individual endeavor and simply do nothing all day. The key philosophical motifs in these stories are of being overwhelmed, beaten down. Of one characters response to an angel in an icon we read: “almost immediately at the sight he collapsed. ” Of Baroque music: “it subdues one, breaks ones heart to bits, knocks one to the ground. ” A visitor to the Alhambra is “is so stunned by the beauty, by this beauty that is so, but so unbelievably beautiful that he thinks he is struck by vertigo, ” where “a truth never before manifested reveals itself. ” And a museum attendant who has been devoting his entire attention for decades to the Venus de Milo is “mesmerized, ” “feet rooted to the ground. ” Krasznahorkai does not shy away from superlatives when he aims to convey the presence of the “celestial realm. ” But, despite the philosophical appurtenances and the essayistic appearance, these stories are not sicklied oer with the pale cast of thought. For the concepts and superlatives are no more than buoys bobbing on the mighty current of Krasznahorkais prose. This musical river of language is the true event of this book, and is overpowering in itself. The current lifts up the reader, drags him down, catches him in whirlpools, is caught still, races across rapids, and with all of these qualities generates an experience that bars us from any distanced reading of the stories but forces us to live at the most intense pitch. It is impossible not to identify with these lonely, despairing, tired-of-life or just plain eccentric characters led by Krasznahorkai toward their moment of truth. We are drawn so close to them that it continually astonishes us when we realize that the stories are told not in the first but in the third person. Of course, what we see here is yet one more balancing act by the great storyteller, László Krasznahorkai: just as he can be essayistic without slipping into didacticism, and emotional without turning bathetic, so too he remains wary of assigning the central position to his solitary and despairing characters, reserving that place to the current that tears everything with it—in one moment narrative, in the next meditative and interpretative—to the current of his prose. -  Andreas Isenschmid László Krasznahorkai, Satantango, Trans. by George Szirtes, New Directions, 2013.     read it at Google Books Already famous as the inspiration for the filmmaker Béla Tarrs six-hour masterpiece, Satantango is proof, as the spellbinding, bleak, and hauntingly beautiful book has it, that “the devil has all the good times. ” The story of Satantango, spread over a couple of days of endless rain, focuses on the dozen remaining inhabitants of an unnamed isolated hamlet: failures stuck in the middle of nowhere. Schemes, crimes, infidelities, hopes of escape, and above all trust and its constant betrayal are Krasznahorkais meat. “At the center of Satantango, ” George Szirtes has said, “is the eponymous drunken dance, referred to here sometimes as a tango and sometimes as a csardas. It takes place at the local inn where everyone is drunk. Their world is rough and ready, lost somewhere between the comic and tragic, in one small insignificant corner of the cosmos. Theirs is the dance of death. ” “You know, ” Mrs. Schmidt, a pivotal character, tipsily confides, “dance is my one weakness. ” “Linguistically [ Satantango] is a stunning novel, but it's tough going, an hours-long slog through mud and meaninglessness and superstition that will leave an indelible mark on anyone who gets through it. ”— The Telegraph [UK] “Krasznahorkai produces novels that are riveting in their sinewy momentum and deeply engaging in the utter humanity of their vision. ”— The Dublin Review of Books “Krasznahorkai's sentences are snaky, circuitous things, near-endless strings of clauses and commas that through reversals, hesitations, hard turns and meandering asides come to embody time itself, to stretch it and condense it, to reveal its cruel materiality, the way it at once traps us and offers, always deceptively, to release us from its grasp, somewhere out there after the last comma and the final period: after syntax, after words. ”— The Nation “Krasznahorkai is a poet of dilapidation, of everything that exists on the point of not-existence. He draws a community of oddballs and obsessives trying desperately to combat the passage of time as everything around them sinks into the mud of an endless rain. ”— The Independent “A writer without comparison, László Krasznahorkai plunges into the subconscious where this moral battle takes place, and projects it into a mythical, mysterious, and irresistible work of post-modern fiction, a novel certain to hold a high rank in the canon of Eastern European literature. ”— The Coffin Factory “A bruising study of expectation and failure. ”— Bookslut “Krasznahorkai proves himself to be capable of bringing anything to life, and Satantango 's pages are teeming with it. ”— Critical Mob “His wry, snake-like sentences produce — or unspool — layer upon layer of psychological insight, metaphysical revelation, and macroscopic historical perspective. ”— L Magazine To open the pages of László Krasznahorkais Satantango is to become stranded in a tiny, claustrophobic Hungarian village, a backwater of rain, mud, mist, mildew, and rust, where rumor and superstition serve as hard data.  It rains for all but the last thirty pages, giving Satantango the feeling of a terrarium with an ecosystem gone amok. “We are living in apocalyptic times! ” declares Bible-thumping Mrs. Halics.  Theres a retrograde, stripped-down feeling to Krasznahorkais universe.  In Satantango theres a single television set in the local bar (although it never seems to work) a truck and a bus.  But there is no telephone, no car, no internet.  Nevertheless, his maniacally inventive writing can take on a breath-taking expansiveness, balancing the bitter, alcohol-fueled lives of his villagers with moments that attempt to describe the scope and scale of the universe.  He can be apocalyptic, tragic, comic, tender and vulnerable, all in a single burst of words. The entire end-of-October night was beating with a single pulse, its own strange rhythm sounding through trees and rain and mud in a manner beyond words or vision; a vision present in the low light, in the slow passage of darkness, in the blurred shadows, in the working of tired muscles; in the silence, in its human subjects, in the undulating surface of the metalled road, in the hair moving to a difference beat than do the dissolving fibers of the body; growth and decay on their divergent paths; all these thousands of echoing rhythms, their confusing clatter of night noises, all parts of an apparently common stream, that is the attempt to forget despair; though behind things other things appear as if by mischief, and once beyond the power of the eye they no longer hang together. Krasznahorkai is a specialist in studying the forms of self-delusion we adopt to repel despair.  Forsaken by god and state,  Satantango ‘s villagers try their best to maintain, each in his or her own way, the semblance of a barrier between “chaos and comprehensible order. ”  As if picking up where Becketts Waiting for Godot left off, they are waiting for their own savior in the form of the mysterious Irimiás, who, after a long absence, is seen as “an angel of hope to hopeless people with hopeless difficulties. ” At dawn, after a long night of quarreling, licentiousness, and dancing to an accordion player who plays the same tango over and over (“nobody noticed”) Irimiás finally appears, bearing the terrible news that a young girl from the village has just been found dead (a suicide with rat poison.   He gathers the villagers around him in the bar and embarks on a sermon about sorrow and guilt, hope and redemption.  But phrase by phrase, his eulogy slowly turns from the “incomprehensible tragedy” to the promise of “a fairer, better future, ” and his eulogy starts to sound like a familiar messianic swindle.  Not surprisingly, the only thing lacking to pull off his plan for the villagers salvation is money.  Urged into a fit of optimism by Irimiás proselytizing vision, most of the villagers abandon their homes and head toward a decaying, empty manor house, where he has promised them a new start.  But after a miserable first night, the villagers begin to doubt Irimiás, feeling “deceived, robbed, and humiliated” by his failure to appear as promised.  Irimiás, who has the perfect timing – and the sartorial heritage – of Clint Eastwoods Man with No Name, suddenly appears at dawn. Irimiás stood there.  His seal-gray raincoat was buttoned up to the chin, his hat drawn far down his brow.  He stuck his hands deep into his pockets and surveyed the scene with piercing eyes.  A cigarette dangled from his lips.  There was a stony silence…”I asked whats going on? ” Irimiás repeated threateningly. In opposition to the power of visionary persuasion exemplified by Irimiás, Krasznahorkai gives us someone pursuing an alternate path to redemption – through the power of observation.  The villages reclusive doctor, who we first encounter as he reads a geological history of Central Europe, obsessively observes the villagers from within his monumentally squalid home, filing away notes on what he sees in carefully marked folders, “all with the aim of not missing the smallest detail. ” However he might try, there being nothing he could do in the face of the power that ruined houses, walls, trees and fields…and human bodies, desires and hopes, knowing he wouldnt, in any case, have the strength, however he tried, to resist this treacherous assault on humanity; and knowing this, he understood, just in time, that the best he could do was to use his memory to fend of the sinister, underhanded process of decay… Later on, however, we discover that Irimiás is actually not all that different from the village doctor, when we learn that Irimiás, too, maintains his own set of written observations on the villagers, which he submits to a group of distant clerks, who, in turn, are expected to rewrite his surprisingly frank commentaries into a suitable report for their bosses.  In a chapter rife with humor and irony, Krasznahorkai lets the clerks squirm as they translate and sanitize Irimiás “depressingly crude scrawl” into officialese. That foul old bag of poisonous gossip became the more reassuring “a transmitter of unreliable information” and the phrases seriously, someone should think about sewing her lips together and fat slut were resolved without undue difficulty.  It was a special joy to them that there were sentences they could simply lift and use in the official version… Reading Satantango is to watch Krasznahorkai working through his own position as a writer. He gazed sadly at the threatening sky, at the burnt-out remnants of a locust-plagued summer, and suddenly saw on the twig of an acacia, as in a vision, the progress of spring, summer, fall, and winter, as if the whole of time were a frivolous interlude in the much greater spaces of eternity, a brilliant conjuring trick to produce something apparently orderly out of chaos, to establish a vantage point from which chance might begin to look like necessity…and he saw himself nailed to the cross of his own cradle and coffin… Might the act of writing just be another folly in the face of despair, Krasznahorkai asks? And so the words prepared for the occasion tumble over each other and began sparring round as in a whirlpool, having formed the occasional frail, if painfully useless, sentence that, like a mostly improvised bridge, is capable of bearing only the weight of three hesitant steps before theres the sound of a crack, when it breaks, and then with one faint, final snap collapses under them so that time and time again they find themselves back in the whirlpool they entered last night when they received the sheet with its official stamp and formal summons. But in the end, it is the doctor, abandoned by the villagers and bereft of anything to observe and record, who has the final say.  After the villagers disappearance, he suddenly begins to imagine their lives in order that he might somehow continue to write in their files. …he knew, was deadly certain, that from then on this was how it would be.  He realized that all those years of arduous, painstaking work had finally borne fruit: he had finally become the master of a singular art that enabled him not only to describe a world whose eternal unremitting progress in one direction required such mastery but also – to a certain extent – he could even intervene in the mechanism behind an apparently chaotic swirls of events! The power to fictionalize, or, as he calls it “focused conceptualizing, ” the doctor realizes, is a weighty responsibility, but one that makes him “the wielder of mesmerizing power” and master of his own destiny.  And before too long, the doctor begins to write the very book we have just finished reading. Written in 1985, Satantango was Krasznahorkais first published novel in Hungary.  With the international successes of War & War and The Melancholy of Resistance, its great to see older works like this start appearing in English.  While I cant vouch for George Szirtes translation from the Hungarian, he has helped Krasznahorkai deliver three amazing books for English-language readers. - Interview with George Szirtes Paris Review recommends Sarrazin & Krasznahorkai NYRB on ‘Satantango ‘Satantango Wins Best Translated Book Award The Krasznahorkai, Tarr, Neumann Issue The Millions Year in Reading: Garth Halberg Loves New Directions City Lights Bookstore celebrates László Krasznahorkais Satantango George Szirtes Converses with The Quarterly Conversation The Telegraph Calls Satantango One of the Best of the Year Satantango as Reviewed by the Dublin Review of Books The Guardian talks with László Krasznahorkai Words Without Borders on “Satantango” The Guardian on “Satantango” László Krasznahorkai Reads from “Satantango” The Quarterly Conversation on “Satantango” László Krasznahorkai on “The Leonard Lopate Show” KGB Bar on “Satantango” László Krasznahorkai at The Library of Congress Sun Sluice Discusses László Krasznahorkai at the Paula Cooper Gallery New Statesman on “Satantango” The Independent on László Krasznahorkai The Millions Interviews László Krasznahorkai Guernica Interviews László Krasznahorkai The New York Times Book Review on “Satantango” The Millions on “Satantango” The New Inquiry on “Satantango” László Krasznahorkai, The Bill: For Palma Vecchio, at Venice, Trans. by George Szirtes, Sylph Editions, 2013. This story, a single story-long sentence about a man and his whore, was originally published in Best European Fiction 2011 In The Bill, László Krasznahorkais madly lucid voice pours forth in a single, vertiginous, eleven-page sentence addressing Palma Vecchio, a sixteenth-century Venetian painter. Peering out from the pages are Vecchios voluptuous, bare-breasted blondes, a succession of models transformed on the canvas into portraits of apprehensive sexuality. Alongside these women, the writer that Susan Sontag called “the Hungarian master of apocalypse” interrogates Vecchios gift: Why does he do it? How does he do it? And why are these models so afraid of him even though he, unlike most of his contemporaries, never touches them? The text engages with the art, asking questions only the paintings can answer. “László Krasznahorkais taut, almost explosive texts resemble prose poems more than short stories or conventional novella chapters, though they do not pretend to lyricism. ”— Nation “A writer whose characters often exhibit a claustrophobic interiority. Krasznahorkai delights in unorthodox description; no object is too insignificant for his worrying gaze. He offers us stories that are relentlessly generative and defiantly irresolvable. They are haunting, pleasantly weird and, ultimately, bigger than the worlds they inhabit. ”- Jacob Silverman László Krasznahorkai and Max Neumann, Animalinside, Sylph Editions and New Directions,  2011. As if some chained being had to shake its essence free, as if art taken to its limit were a form of howling, Animalinside explodes from its first line: He wants to break free, attempts to stretch open the walls, but he has been tautened by them, and there he remains in this tautening, in this constraint, and there is nothing to do but howl. To create this work that strains against all constraints, László Krasznahorkai began from one of Max Neumann's paintings; Neumann, spurred into action, created 14 more images, which unleashed an additional 13 texts from the author. Animalinside is the rare case of two matchless artists meeting across disciplines, and New Directions is very proud to publish a limited edition of this powerful novella, exquisitely produced by Sylph Editions and the Cahiers Series of the American University of Paris with a deluxe seven-stage printing process for the amazing Neumann images. Animalinside is a cultural event in itself. Simultaneously an art book and a literary work, its thirty-nine pages, organized into fourteen pairings of image and text, mark the genre-defying collaboration of German painter Max Neumann and Hungarian novelist László Krasznahorkai.  Neumann limns the books principal image: always in profile, his featureless, usually) black mastiff dominates the book. Leaping or howling, alone or in multiples, the dog appears in all of the volumes fourteen visual representations.  The few faceless human silhouettes in this book are the objects of the dogs painted menace and verbal violence.  Although the dog will sometimes appear in multiples and call itself we, the first dog we meet is single, and it seems to threaten one (unpainted) human being called you, who has caused the mastiff to become entrapped. You soon becomes an altogether more encompassing designation that refers to all human beings in the written text and out of it, with the readers bearing the brunt of the assault, book in hand. The dog speaks of its own arrival out of nowhere: its isolation and entrapment in a painted box, behind a painted wall and in ill-defined darkness, signaled by a rectangle of black paint. In the accompanying written soliloquies, this entrapment is clearly described as taking place in a metaphysical space you cannot hope to comprehend.  The dogs main concern is the havoc it will wreak “if I get out of here. ” What it will do is: rip apart my “little master, ” make an end of humanity, and extinguish life on earth. The tone is menacing, the aim to avenge—what, precisely, we never know. At most we “hear” two painted dogs (who loom over two painted human beings) remark: “... judgment has been brought upon you, and you do not merit the earth. its the end of you lot, not even a trace of you all shall remain here. ” Loaded with menace, the fourteen image/text sets of Animalinside are strikingly related (visually and thematically) but not in any of the linear, causal ways that belong to storytelling and narrative. Instead, taken together, the concert of images and texts creates a psychological portrait of a monster. Its story, if we can call it that, is the amplification of its aggressive rage, for the dreamlike succession of image/text pairings respects a principle of magnification: each image/text threatens more gravely than the last. To some extent, the unusual, nonlinear nature of this tale of amplification must derive from the painter-driven nature of the project. Neumann and Krasznahorkai are friends, and so it was perhaps natural enough that Krasznahorkai wrote the first text in this collection in response to a painting of Neumanns hanging on his wall. Then a process of mutual incitement seems to have set in. In his preface, Colm Tóibín says that Neumann, spurred on by Krasznahorkais first text, “made the rest of the images to which Krasznahorkai, his mind let loose by the captured visuals, responded by writing the thirteen other texts. ” Still, while the choice of visual imagery was the painters, the combined effect of the two artists mutual instigation and their shared knowledge of each others work has resulted in such a profound integration of image and text that it would be utterly misleading to say that the written parts of this book “illustrate” the painted ones (or vice versa. Neither a novel nor a story about a conflict with two sides, this series of mutual incitements can be described as a set of visits to various stages or episodes in the life of a force and/or a mentality—represented by the dog—that finally perpetrates Armageddon in the final pages of the book.  Did Neumann or Krasznahorkai initially plan to end on this apocalyptic note? We dont know, and it doesnt matter. Animalinside is one beautiful, scary book. Its images and texts perform the apocalyptic mentality better than anything since Slim Pickenss bomb ride in Dr. Strangelove. Pictorially, we enter a grave space, dominated by Neumanns emblematic dog. Lacking forelimbs, the leaping, muscular figure of the cover image appears in white on a black ground, as if its silhouette had been cut from black paper and then laid over a white sheet. The optical illusion suggests that the animal lives below some upper surface—in that sense, it is inside, as the title suggests. Within the books covers the animal is black and shiny, always in silhouette, with a slick look as if composed of wet ink, in contrast to the pale, matte backgrounds on which it appears. While two of these backgrounds appear cleanly painted in white or ochre, most look smudged, as if color had been applied and later removed. Some have been stained with watery paint-box colors among which fresh, bloodstain red stands out. The general effect is to place the dog in a separate dimension from the space around it. Neumanns human figures are often composed of the same black matter. Its not possible to describe all of Neumanns technique, but it is fair to say he is a master of “faceless figures. in a bare space” to borrow a few words from Le Figaro art critic, Jean-Marie Tasset. While the human beings in this world may seem, as Tasset says, ready to “gutter and go out. swallowed by silence” Neumanns emblematic dog is powerfully present in its own dimension, the place where the animalinside leaps and howls, menacing and fearsome. Beyond this, Neumanns images either feel ominous or depict calamity—in ways Krasznahorkais texts reinforce. László Krasznahorkai is an acknowledged master of the apocalypse. One of his novels, The Melancholy of Resistance (New Directions, 1989) brilliantly translated by George Szirtes, is set in a provincial Hungarian town in a surreal era, cut off from history. A circus, consisting mainly of a huge stuffed whale and a sinister dwarf, comes to town—somehow tipping off  increasingly dreadful civil disorder that culminates in societys tearing itself apart in mass violence perpetrated by human hunting packs.  Theres much more to The Melancholy of Resistance than that, but its worth noting that the provincial town is torn apart by its human populations animalic way of going to the dogs. Krasznahorkai wrote the first Animalinside text as a response to his friends painting in which a doglike figure (with a set of hind limbs weirdly humanized by Neumanns lengthening them in relation to the torso) “taughtens” itself within an enclosed space as if arrested in a leap while it thrusts its muzzle against a wall. Neumann has manipulated the pictorial space, though, so that if you look closely at the image the dog appears to inhabit a different spatial world than the one depicted in the rest of the painting. A portion of the dogs soliloquy converts the literal circumstance of the painting—the limitations posed by perspective and two-dimensionality—into a metaphysical lament: I have nothing in common with this space, in the entire God-given world I have nothing in common with this structure, with these perspectives, and these perspectives are not even made so that I can exist in them, so that I dont even exist, I only howl and howling is not identical with existence, on the contrary howling is despair, the horror of that instance of awakening when the condemned—myself—comes to realize that he has been excluded from existence and there is no way back, if there even was a way here... Written in an evolving dialogue with Neumanns visual work, each of the following thirteen texts show Krasznahorkai creating the dog-monster as a being cut out from nature, howling, existing as a soliloquy that unspools through long, agglutinative sentences. These are marvelously (and therefore horrifyingly) translated from the Hungarian by Ottilie Mulzet. Remarkably, this series of linked images and texts culminates as the dog and its double face off over the edge of an annihilated planet where all that remains are “dead cold ashes, in which we stand facing each other, tensed, on each side pure muscle, and now there is only the question: which of the two of us shall be king. ”  This is the final result of the dog-monsters rapid development from cringing cur to the feral harbinger and (according to these texts) perpetrator of this particular apocalypse.  Along the way, the dog-beast in its various incarnations presents itself as an animal with a dual symbolism, or, anyhow, as a violently animalic essence inside us and as a violently animalic force in the world outside ourselves. On the one hand, then, the dog is inside man in general. According to the dogs harangues, it is locked inside a shapeless metaphysical space that forms part of our thinking and yet is inaccessible to ourselves. “. you know nothing, nothing, nothing about anything, because you dont even know youre thinking about me. ” But you are thinking, the dog implies. I am what you are thinking. Moreover, the dog considers himself the bearer of human meaning: “you understand annihilation and that is why I am coming, so that there will be some meaning to the very fears, the many terrors and anxieties and worries, which are yourselves. ” And, finally, the dog is the violent amalgam and essence and cause of these fears and anxieties breaking out of you —us, human beings: “... coming is violent, just a few moments now, and I shall break out of you, and you will be that which I am, and that which I always have been. ” The animal outside, by contrast, is somewhat easier to understand.  The dog is a kind of menace, even a juggernaut of sorts, besieging us from without.  Asserting its otherness, it stands over human beings like a nightmare sentry in two of the books most frightening images. Indeed, the dog does nothing if not announce its annihilating intensions, and wields then as a constant threat. As the dogs jointly say at one point:  “if you look up you can see how the light sparkles in our eyes, but you dont look up. and that is how life ends for you, because it is impossible to hide away from us. ”  Ultimately, the animals duality—as this being both springing from us and hurtling toward us at the same time—is the key to its utter strangeness and alien quality.  Unrecognized as a foreign element inside ourselves, the dog seems to exist in another realm entirely or to leap out at us from another dimension. Krasznahorkais distinctive use of language animates this small, explosive book and holds its many strands together. In the preface to Animalinside, Tóibín describes it as “a force struggling against. easy consumption” that arms itself with “clauses, sub-clauses and asides, preparing high-voltage assaults on the readers nervous system. ” Tóibíns engagement with Krasznahorkais sentence-making is the highest possible praise for Ottilie Mulzets translation, praise it mightily deserves. And the book emerges as celebration of two world class artists, Neumann and Krasznahorkai, who we realize are so potent and commanding not because they live outside this world—fantastical as this project sometimes is—but because they live in it. Citizens of a continent that suffered war, Fascism and Communism (and the corruptions that reemerged in its wake) Neumann and Krasznahorkai are part of a world that saw itself go up in flames. They have belonged to a world that saw evil strongmen brutalizing the rest of the population. These days people want to know who all the villains were, and, more important still, what villainy really is. And so questions inevitably arise: Are they us?  Is what they were and what they represent something inside us—a foreign element, like that dog, we have yet to recognize?   Could be. Only, “we” dont feel ourselves capable of certain acts, which is why, to us, those deeds seem to leap out of another dimension. Jean Harris To my mind, Samuel Beckett is the author who was most able to broaden one single thought - the must-go-on-ness of life - into a universe of forms. He turned a remarkably powerful insight about the way life was experienced in the mid-20th century into an engine for producing, among other things, a trilogy of anti-novels that meditated upon death and the limits of language, and a post-apocalyptic farce about a woman who lives life buried waist-deep in dirt. The Hungarian writer László Krasznahorkai is among the handful of authors working today who could reasonably be said to carry Beckett's torch. As with Beckett, Krasznahorkai's writing manifests a formal fascination with language that goes far beyond a desire to tell a story. In an era of chaos, his literature springs forth from a search to understand how language might create suitable myths to replace the ones that have been long since torn down. New Directions has led the way in bringing Krasznahorkai into English, having already published his acclaimed novels War and War and The Melancholy of Resistance, and planning to rerelease the author's breakthrough book, 1985's Sátántangó, early next year. In the meantime, New Directions has just published in English a slim work called Animalinside, which New Directions originally co-published in Paris as part of Sylph Editions' impressive Cahiers series. Animalinside is 48 pages long, but it is a large read and you will see few more beautifully produced works of literature this year. The project grew out of Krasznahorkai's relationship with the German artist Max Neumann, whose painting of a silhouetted, dog-like figure oddly straining within a sparsely detailed enclosure had long hung on Krasznahorkai's wall. One day the author wrote a text in response to this painting, which spurred Neumann to create 14 more works of art, and Krasznahorkai 13 more textual responses. Aware that the final product would be published in the Cahier's pamphlet-like format, Krasznahorkai necessarily limited the length of each of his responses to what would fit on one or two pages. The result of this international, multimedia collaboration is Animalinside, a book in which a galaxy of implication springs from Neumann's striking, muscular animal form. It is an iconic image, somewhere between a demented howl and a vicious leap, instantly recognisable, adaptable, enigmatic. The figure features prominently in each of Neumann's paintings, which are reproduced magnificently in the book. The reproductions' range of texture is superb, capturing the subtle, diffuse shifts in shade that characterise Neumann's backgrounds and the crisp blotches of colour that seep atop them. As with the images, the powerful centre of Krasznahorkai's prose is the creature. He begins by apprehending it from the outside, telling us as though projecting into a Rorschach blot "he wants to break free. there is nothing else to do but howl. In these first lines Krasznahorkai establishes the creature's mind, as well as the book's obsession with the limits that exist within infinities: they have placed him inside this moment, but in doing so have excluded him from the moment previous, as well as the one to follow, so that he howls with one howl, expelled from time. " In the following sections, Krasznahorkai switches from the third-person to the first, building up the creature's "persona" out of remarkably strange attributes. In section II, for instance, the creature defines itself almost entirely in the negative, proceeding from the words "you can't touch me" to an enormous list of qualities that it is not, concluding with the one thing it is: Within me there is only hatred, only disgust, only fear. Section III is its vicious declaration of spatial infinitude, beginning with "I extend from one church spire to the other" and proceeding up through being bigger than the "universe" before challenging even the nature of quantification: I am bigger than everything that can be measured. " Yet the creature becomes marvellously difficult to pin down, Animalinside deriving a Beckett-like depth from its constantly contradictory, self-defeating, unreliable statements. Thus, in section X the animal says of the howl that was previously called an expression of unimaginable angst "we don't know why but it is good to howl, and it was always like this. Even more unsettling is section XII, which begins quite disarmingly with "my little master, where have you gone. The creature proceeds to rather pathetically beg for its dinner before declaring that when it grows up "I will rip away your ears, because then I will tear off your nose, because then I will burn out your eyes. It then finally concludes by repeating "my little master" which, at this point, can only be read with heavy irony. Were that not enough, section XIII repeats the feints and threats of XII almost word for word before concluding with the even more ironic "I'm only kidding - my little master. Elsewhere the creature variously: threatens "you" with a death that will occur in an infinitesimal moment; describes itself as a pathology inside a "you" waiting to burst out; and speaks of itself as a "we" standing in "judgment. Although Animalinside is a writhingly complex work, the language throughout tends towards the simple. Krasznahorkai builds up lengthy sentences out of short, comma-spliced sentence fragments made from lapidary words, and the book's power comes from how he layers repeated words and phrases into a sort of cumulative syntax. In an essay written for the website Hungarian Literature Online, the translator Ottilie Mulzet stated that Krasznahorkai gave her an "unequivocal" instruction: There are many repetitions in the text, and this is very important; repeat everything exactly as it is in the original regardless of what the English language WANTS. " Krasznahorkai's imperative notwithstanding, Mulzet's translation does not feel foreign so much as stateless, a kind of transcontinental English suitable to the existentialist myth Krasznahorkai has created. In this it resembles other notable translated modernists, the aforementioned Beckett among them, as well as Thomas Bernhard, Sadegh Hedayat, all authors whose obsessive, repetitious prose feel less tied to a place and time than a way of thinking. Mulzet has done a fine job of maintaining Krasznahorkai's arid, almost inert rhythms while finding the proper words to get across the text's sense of irony, the strange mixture of doubt and certainty that characterises its language. Animalinside is a remarkably open text, something like a collection of discontinuous forms clustered around an absent centre. It does not progress so much as exist as a network of suggestion: for instance, Beckett's profoundly conclusive "I can't go on, I'll go on" here becomes merely the theme on which section IX is set. Even the finitude of the book's final, 14th section, a scene of ash and expiration that sets up a final battle to end all battles, dissolves within the multiplicity of what has come before. How can we really trust that this is the end after all we've seen and heard? Krasznahorkai's success with Animalinside is that, despite the feeling of great instability that undercuts any definite conclusion to this text, it nonetheless feels "about" something - and something important. The creature's deep contradictions make it into a complex, living entity, and the chaos itself becomes a source of understanding. In section XIV, the last two creatures in existence declare "we've made it undone in our hatred" adding that "no verb at all shall ever be heard again, no memories, no traces, no judgment and not even any crime, no punishment, the last word died away long ago. Despite these admissions they continue to speak, and what's more they end with a final clash to discover who will be "king. The nothingness over which they preside, it would seem, is purely metaphorical - not the end of existence but the end of meaning. That is as terrible a consequence of complete isolation as I can imagine, and I would venture that it is the natural state of Krasznahorkai's creature. It is notable that Animalinside is at its most nostalgic when the creature is recalling - or imagining - time spent with its fellows, where the simplicity of experience forms a common bond that does not need language. The book is perhaps best understood as an exploration of a consciousness trapped within an inability to communicate. It is a deep, upsetting vision, one that marks Krasznahorkai as an original whose prose must be wrestled with. Scott Esposito Read more: Follow us: TheNationalUAE on Twitter, on Facebook Review by Jeff Alford The prose of Hungarian novelist László Krasznahorkai is full of menace, but it would be a mistake to read the menace either as political or as coming from nowhere. In novels such as The Melancholy of Resistance and War & War, his imagination feeds on real fear and real violence; he has a way of making fear and violence seem all the more real and present, however, by removing them from a familiar context. It is fascinating to watch the work of László Krasznahorkai as though in action, spurred into sentences by the suggestive images of the German artist Max Neumann. The writer worked first from one of Neumanns images and then Neumann, spurred on in turn by the words, made the rest of the images to which Krasznahorkai, his mind let loose by the captured visuals, responded by writing more texts. What follows is an excerpt from the book, Animalinside, that resulted from their collaboration. — Colm Toibin Drawing by Max Neumann Withdraw into protection and safeguard all that is important to you, take it down to below the earth, all that you have, take down the jewelry, the food, the childrens photographs, the armchair where you like to sit with a book in your hand, the curtain, behind which you feel yourselves to be safe, from the window; gather together all that was dear to you, gather together the identity cards and baptismal certificates, take the money out of the bank and hide it in the cellar behind the wall, but really every piece of jewelry, every scrap of food, every photograph of the child, every armchair and every beloved book, every curtain and every document, and really all of the money down to the very last cent, and really hide all of these things well, but really well, under the earth, so that at least you will be able to believe until then that there was some sense to it all, until we get there, seek out protection at least until then, while you are still able to believe that we havent got there yet, believe and hope, hope and believe very much that it is rational to prepare for our arrival, just move away and pack up, take the chests stuffed full of pilfered loot, take them one after the other, down below the earth, at least until then do not think about how it is not necessary to wait for us, that it is not necessary to be afraid of us, that we are coming and that there is no need to worry about us, that the day is coming and we are coming, and seeing as its already here, seeing as that day has come, and you didnt notice that it has come, here we are, we see it all, we see what youre doing with your little chests, we see what youre doing with your little possessions, and we see what youre doing with the child, we see everything already from up here, because we are watching you, if you look up you can also see how the light sparkles in our eyes, but you dont look up, and that is how the day ends for you, and that is how life ends for you, because it is impossible to hide away from us, there is no depth within the earth that could be a refuge for you, we are here, above, here, look were watching from up here what youre doing down there, but we dont have to watch everything, because we already know everything about you, because the judgment has been brought upon you, and you do not merit the earth, that is what it says in the judgment, because you have gambled away your luck upon the earth, that is what it says in the judgment, because you have become unworthy of the earth belonging to you, all you lot will clear out of here now and someone else is coming, someone else shall live upon the earth, its the end of you lot, not even a trace of you all shall remain here, that is what it says in the judgment, so that now you might as well put down that last chest, that too is written in the judgment, and that is why we came here, to execute that judgment upon you. Drawing by Max Neumann You are my master, Im inside you, just like that, inside you, you who are standing here, your hands clasped behind your back, you lean forward attentively and look, but really where do you think you are, in the zoo? a blossoming meadow? in an orchard! Well no, no, not in the zoo and not in the blossoming meadow and not in an orchard but within your own self, you are completely alone, there where between you and me there isnt any distance at all, because Im not out there but Im in here, because I was always inside you, at first just as a kind of cell, or rather something like a mistake in a cell, but then suddenly I grew and now I exist within you with all my force, you carry me everywhere with yourself, your bearing is nice, your clothes are nice, your coat is nice, your shoes are nice, nice and shiny and not even a speck of dust on them, not even a drop of mud, not even a speck of grimy slush, nothing, you are elegant, you went, you strolled, and now something stopped you, or rather you thought oh Ill stop here, Ill clasp my hands behind my back, and Ill look at something, I will look and see what this thing is in front of me, thats what you thought and thats what you did, the only thing is, I am there inside, you carry me within your own self, its of no help at all, not the nice bearing with the head nicely tilted to one side, not the nice clothes, not the nice coat, not the two nice shoes neatly shining, nothing, and now youre still thinking about nice things, thinking for example well lets have a look at whats over there, that looks pretty ghastly lets admit it, you say good-naturedly and unsuspectingly, you clasp your hands behind your back, you put your two nice clean shoes next to each other, and you lean to the left and you look at me, erroneously, because its not me that youre looking at, even if you think you are, because I, that thing that looks so ghastly, is within you, because I am within you, and I am watching all of your nice thoughts, as you think to yourself how pleasant it is here in the orchard, how marvelous it is here in this blossoming meadow, how enchanting it is to stroll a little now here in the zoo, and I look at all of these nice thoughts, and Im watching how nicely you look and you think, but here I am inside, and Im extending outwards, here I am inside, and Im straining more and more, and always forwards, and always in an outward direction, and at one point I will break out, and that will put an end to all the nice thoughts, an end to the nice looks, and an end to the nice clothes and the nice coat and to how nicely you hold your head, and you look, because then you wont be looking anywhere at all, you wont even have any eyes, because I shall begin by corroding both of them, because my coming is violent, just a few moments now, and I shall break out of you, and you will be that which I am, and that which I always have been. Translated by Ottilie Mulzet This text is drawn from Animalinside, by László Krasznahorkai and Max Neumann, translated by Ottilie Mulzet, with an introduciton by Colm Toibin. It was published jointly by the Center for Writers and Translators of The American University of Paris, Sylph Editions, and New Directions press, as part of the Cahiers series. …all preliminary conjectures about who I am will prove in retrospect futile… ” (v) If you want to know what language and literature permit us to do, read the fourteen short untitled, numbered pieces that comprise László Krasznahorkais Animalinside. The best of these pieces transcends any literalness or point of reference and simply speak to us in an oracular, disembodied voice that suggests the impossible, the unimaginable, the indescribable. You cant touch me. I have no eyes, no ears, no teeth, no tongue, no brain tissue, no hair, no lungs, no heart, no bowels, no cock, no voice, no smell; …useless for anyone to scream at me, I dont understand, because I dont hear anything, useless for anyone to strike at me, I dont see, I am entirely blind, you dont know what Im like and what I am, because you cant picture it, you cant even conjure me up in your dreams, because I am absent from any picture that you have ever seen…   (ii) Its the voice of a vengeful god warning us of what true, unlimited power really is. And I am strong.  Too strong.  So strong that I break a knife in two with my teeth, that I break a sword in two with my teeth, that I break a house in two, that I break one hundred houses in two, one after the other, that I break one thousand houses in two, that I break every building in every city in two, so strong am I that I smash in the middle every bridge on earth…and if I want to break the entire Earth in two, I grab it by one end and – whoop! its snapped in two already… (iii) Animalinside, a forty-page chapbook, is number 14 in The Cahiers Series being issued jointly by Sylph Editions, New Directions, and the Center for Writers & Translators at the American University of Paris.  According to the Preface by Colm Tóibín, the work is a collaboration that began when Krasznahorkai wrote a piece based upon one of German artist Max Neumann ‘s powerful, enigmatic images of two-legged dogs (they have no forelegs.   Neumann created more images in the series for which Krasznahorkai then wrote responding texts.  The chapbook is beautifully produced, especially Neumanns images, which are stunningly printed and selectively varnished to achieve vivid blacks and real texture. - László Krasznahorkai, War & War, Trans. by George Szirtes, New Directions, 2006. War & War, László Krasznahorkai's second novel in English from New Directions, begins at a point of danger: on a dark train platform Korim is on the verge of being attacked by thuggish teenagers and robbed; and from here, we are carried along by the insistent voice of this nervous clerk. Desperate, at times almost mad, but also keenly empathic, Korim has discovered in a small Hungarian town's archives an antique manuscript of startling beauty: it narrates the epic tale of brothers-in-arms struggling to return home from a disastrous war. Korim is determined to do away with himself, but before he can commit suicide, he feels he must escape to New York with the precious manuscript and commit it to eternity by typing it all on the world-wide web. Following Korim with obsessive realism through the streets of New York (from his landing in a Bowery flophouse to his moving far uptown with a mad interpreter) War and War relates his encounters with a fascinating range of humanity, a world torn between viciousness and mysterious beauty. Following the eight chapters of War and War is a short "prequel acting as a sequel. Isaiah. which brings us to a dark bar, years before in Hungary, where Korim rants against the world and threatens suicide. Written like nothing else (turning single sentences into chapters) War and War affirms W. G. Sebald's comment that Krasznahorkai's prose "far surpasses all the lesser concerns of contemporary writing. " “I havent gone mad…but I see just as clearly as if I were mad. ” Unlike Satantango and The Melancholy of Resistance, the two other novels by László Krasznahorkai translated into English so far, and which are both set entirely in rural Hungary, War and War is an urban novel, opening in a city in Hungary, then quickly moving to New York.  Korin, a bureaucratic archivist, discovers a manuscript that defies immediate classification and so he must read it in order to catalog it.  The manuscript turns out to be “a work of astonishing, foundation-shaking, cosmic genius, ” and Korin, an immediate convert,  realizes that previously “he understood nothing, nothing at all about anything. ”  The manuscript, however, promises to help him “recover the dignity and meaning whose loss he had been mourning. ”  And so he decides he must dedicate his life to giving this lost, obscure manuscript immortality on the Internet.  “There was nothing to do but, in the strictest sense, to stake his life on immortality. ” War and War  is an astonishing narrative of Koris unquenchable need to find faith and proselytize to a world that literally cannot understand him. … New York was full of Towers of Babel, good heavens, imagine it, he said the same afternoon on a state of high excitement, here he had been walking right amongst them for weeks on end, knowing that he should see the connection, but had failed to see it, but not that he had seen it, he announced with great ceremony, now that he had got it, it was clear to him that this most important and most sensitive city, had deliberately been filled by someone with Towers of Babel, all with seven stories, he noted, his eyes screwed up, examining the distant panorama… As Korin reels between doubt and faith, with each new setback acting as further proof of the rightness of his mission, a Dostoyevskian blend of paranoia, irrationality, and faith reenforce each other, blinding him to the fact that the rest of the world treats him like a crazy, unintelligible foreigner from Eastern Europe.  Satantango and The Melancholy of Resistance each had a central charismatic, mysterious figure who could bend the locals to their will.  But in War and War, the charismatic figure is a manuscript, and the only character it gains power over is Korin. The skeletal but convoluted “plot” of Krasznahorkais novel quickly becomes buried beneath his maniacal pinball prose, which breathlessly tracks Korins mind with precision as it darts and careens from idea to idea, from emotion to emotion.  Toward the end of the book, Korin reflects on the remarkable use of language in the manuscript he is transcribing for the Internet, on how “the sentences seemed to have lost their reason, not just growing ever longer and longer but galloping desperately onward in a harum scarum scramble. ”  Surely, Krasznahorkai was referring to his own writing: …this enormous sentence comes along and starts to egg itself seeking ever more precision, ever more sensitivity, and in so doing it sets out a complete catalogue of the capabilities of language, all that language can do and all it cant, and the words begin to fill the sentences, leaping over each other, piling up, but not as in some common road accident to be catapulted all over the place, but in a kind of jigsaw puzzle whose completion is of paramount importance, dense, concentrated, enclosed, a suffocating airless throng of pieces… War and War contains a single embedded photograph depicting a plaque commemorating the suicide of György Korin. - I said Id been holding off reviewing this book, originally published in Hungarian in 1999 but only translated into English now, until I knew more of what to make of it, and Im not sure if Im quite there yet. But the past week has been personally rather lousy for me, and overlapping as it does with the conflagration in the Middle East between Israel and, well, nearly everyone else, War and War has been at the front of my mind in ways that I cannot totally quantify. The way it treats the amorphous yet concrete intersection of the personal and political is so convincingly evocative of my current admixture of petty personal woes and fatalistic political worries that I have to say that it is the book for now. I thought Krasznahorkais The Melancholy of Resistance a fantastic book, a haunting and violent political allegory that had more to say than a hundred contemporary books. I wrestled with it as I do with Musil, Riding, Gass, and too few others. In its sweeping, uncanny world, it is the book J. M. Coetzee has tried to write several times, but never quite succeeded. (I think Waiting for the Barbarians comes closest. So I looked forward to War and War, also translated by the poet George Szirtes, as the most promising book on the horizon this year. War and War is a remarkable novel, and it is drastically different from Krasznahorkais previous novel. Stylistically, the huge sentences and paragraphs are there, as is the sheer bleakness and black humor, but this book is far more oblique. It is not an allegory, but neither is it a realistic narrative, nor a fantasy, and as unusual as his past work was, War and War is sui generis. It is intensely personal, and I think it works hard to defy easy analysis. Krasznahorkai was quite explicit about the narrative and thematic construction of The Melancholy of Resistance within the text; here he draws back whenever the text is about to be too conclusive. The story is odd and spare. A Hungarian scholar, Korin, has located a historical manuscript of tremendous importance to him, and he wants to share it with all humanity. To do so, he goes to New York, the heart of the living world, makes acquaintances with some unpleasant characters, and purchases a computer and web site to post the manuscript. He describes the manuscript at length to everyone he encounters. Korin is quite touched (and out of touch) and by the time of his eventual suicide, one wonders how he made it so far. The manuscript is something else entirely. We only hear about it through Korins descriptions, but it is one strange beast, placing four somewhat nebulous travelers in various historical times and places from Greece to Italy to Africa, usually just before some sort of catastrophe or war. Often their bete noir, the Mephistophelian Mastemann, makes an appearance. The manuscript becomes hazier and more chaotic, according to Korin, until he himself has no idea what to make of it, other than being convinced of its utter importance. His most explicit summary comes towards the end, speaking of the possible author Wlassich and the four men: It was a way out that this Wlassich or whatever his name is, was seeking for them, but he could not find one that was wholly airy and fantastical so he sent them forth into the wholly real realm of history, into the reality of eternal war, and tried to settle them at a point that held the promise of peace, a promise that was never fulfilled, though he conjures this reality with ever more infernal power, with ever more devilish fidelity, even greater demonic sensitivity, and populates it with the products of his own imagination, in vain as it turns out, for their path leads but from war to war, and never from war to peace, and this Wlassich, or whoever it is, despairs ever more of his one-person, amateurish ritual, and eventually goes completely off his head, for there is no Way Out. (203) Needless to say, Korin is living this nightmare himself, though in a rather abstruse manner. The severity with which he goes about his life, even the simple matter of traveling to New York and publishing the manuscript, is difficult to bear at times. It is this historical weight, the constant sense of grand war and a society that is too great and heavy with suffering for a person to contain, that is the heart of the book, as inexplicable as it may be. Korin suffers it constantly and acutely. Krasznahorkai does not give any simple explanation, or any real explanation at all, for Korins condition, in which the historical and personal have collapsed and are overwhelming him. But the “historical” is not quite what we read in the papers and in books; it is, as Korin says, “the version that has triumphed by stealth. ” As for the Way Out…Krasznahorkai leaves it somewhat open. The end uses a couple of metafictional conceits. One of them is quite a punchline, and the other is touchingly ingenuous. Both reinforce that Korins nightmare is meant to be shared, as it is Krasznahorkais and his readers. In his online introduction, Krasznahorkai says: … there was an unexpected, fierce, poignant vision: a couple of people running for life in timeless devastation and meanwhile taking stock of all that they have to say good-bye to. The book I started to write in 1992 rests on this vision, and given the feeling I had while working on it that there were less and less people who would grasp the meaning of a vision like mine, from 1996 on I tried to get in touch with them. I had been writing messages for two years and dividing them into separate sentences I had them published in literary journals. Then in 1998 I sent a kind of a last message, a story forwarded as a letter and entitled Megj& xc3& xb6tt & xc3& x89zsai& xc3& xa1s /Isaiah has come/ in which the future hero described the roots, origin and spirit of the novel announced to be published the following year. Perhaps Krasznahorkai is trying to resituate Beckett and Kafkas private mirrors of the self in known historical reality, a goal with which I am wholly sympathetic. His open conception of a narrow readership seems in line with this goal, and it matches the books concept as well, since Korin and the four travelers are such aberrant figures. I dont know if Im included in that readership, but for the last week Ive felt like I am, felt shaken as Korin does. David Auerbach Hungarian novelist László Krasznahorkais War & War ( Háború és Háború) first published in 1999, is a story of a total failure, a fool named Korin. Krasznahorkais “hero, ” who works, similarly to the anti-hero of José Saramagos 1997 novel All the Names, as an archivist—a man who, like one of Eliots living dead, is afraid not only to “eat a peach, ” but is fearful of literally “losing his head” which, he is absurdly told by doctors, is only tangentially connected to his spine and will ultimately break loose and fall off. The fiction begins with what will be a series of attacks on the “hero” as he is surrounded by members of a brutal young gang who attempt to rob him and are willing and ready to slit his throat. But the strange, incoherent story Korin begins to tell—the complexity of which the author suggests throughout his work by dividing his fiction into 2-3 page units, each consisting of one long, rambling sentence—strangely transfixes them, not so much because of its (im)possible content, but because of the intensity with which the old man speaks. To the young gang members he is a human specimen so ridiculous that they are fascinated by his absurdity, and, in listening to his tale, like Scherezades Schahriar, spare his life. Little do they imagine that he has a large sum of money sewn into the lining of his outdated and filthy greatcoat. In the very next scene Korin repeats his verbal assault, this time in the company of a good-looking flight attendant to whom he, apologetically and, once again, somewhat incoherently, attempts to tell his life story. Apparently he has discovered by accident a manuscript in the archival files that has completely transformed him. As he reads and rereads this mysterious fiction, filed mistakenly with other family records, Korin realizes a new purpose in life. Abandoning his job, selling all his possessions, and attempting to escape the authorities he believes are determined, because of his condition, to deny him travel, our hero eludes his invisible trackers through a series of meandering train rides, ultimately arriving in a Budapest ticket office in hopes of continuing on to New York. Because he has no visa he is forced to procure a quickly issued one at great expense. The travel agency, moreover, cannot assure him of space on a plane for the next few days. His intense conversation with the stewardess in the agency offices and his idiotic determinedness, however, work in his favor, and miraculously he arrives in New York. Arriving without luggage and with no clear destination in mind, he is whisked away to security where he finds himself face to face with a disinterested Hungarian interpreter, who, like the others before him, is bored and transfixed by Korins attempts to explain himself. The interpreter loses his job because, recognizing the incompetence of the man he questions, he hands him his personal business card, containing his home address. Not without further ado, Korin makes his way through the terminal and is delivered up by taxi to a Bowery flop, where for days he holds up before attempting to adventure out into the Manhattan streets. When he does leave the room, the event ends in a fearful encounter with the abject poor seemingly incarcerated in a nearby flophouse, and in horror Korin calls the number listed on the interpreters card. Since the interpreter now has no income he agrees to let a room to Korin and even helps him to set up—in what has been the secret aim of the mans confused wonderings—a website where the former archivist hopes to post a copy of his discovered manuscript. Perhaps the most poignant and intense moments of this episodic work occur in this apartment where the interpreter lives with his mistress—an abused Hispanic woman—who, knowing only a little Hungarian, nonetheless silently endures Korins breakfast litanies about his life and the mysterious manuscript he is determined to post to his website for posterity. Gradually Korin becomes aware of the beatings she endures and the nefarious activities of his landlord, but, in his obsessive single-mindedness, he has little power to change the course of their fate. A friendship between the “hero” and the woman, however, develops, even if the words he shares with her have little meaning. Once more, the intensity with which he tells his story is what seems to matter. The reader, however, begins to perceive the nature of his literary discovery: a tale of four men (Kasser, Falke, Bengazza, and Toót) who voyage freely through time, in each story discovering a near-paradiscal society (the mythical Kommos and the historical Venice) or architectural wonders (the cathedral of Cologne and Hadrians Wall) that in the midst of their admiration are destroyed soon after the appearance of an enigmatic figure (Mastemann. We recognize that each version of the tale reveals the same message, that cultural and societal achievement and harmony is perpetually destroyed by evil. But Korin is confused by the various stylistic maneuvers of the storyteller, particularly in the last section, when the narrator—not unlike how others have perceived Korin himself—seems to go mad, jumbling together various lists and information that transgresses against any coherent message the story might wish to convey. Safely ensconced in the interpreters apartment, where he is forbidden late afternoon and evening use of the computer, Korin ventures out, gradually exploring the unfathomable city around him. When, accordingly, he has finished posting his tale, and, after suffering, along with the interpreters lover, a series of strange events wherein intruders suddenly remove all the apartments contents, followed, a few days later, by new intruders delivering boxes that fill the small living space, the “hero”—piecing together these events with his discovery of a large cache of money hidden behind a piece of tiling in the toilet—escapes what has been his only home in this new world in order to seek someone in the Hungarian community who will sell him a gun, presumably to accomplish the suicide he has promised earlier in the narrative. But even here, Korin reveals his incompetence. Hooking up with a slightly mad figure of the streets (a man who places manikins in various artfully life-like positions throughout the neighborhood) our “hero” stays the night with his newfound friend, awakening to discover photographs of work by the real-life artist Mario Merz upon the walls of the mans apartment. One of Merzs tent-like environments so moves Korin that he determines to travel to Zürich where he believes the author resides to seek out one of the structures in which to kill himself. If he has previously been blessed by a sort of innocent madness, armed with his new, negative resolve, Korin is no longer blessed and is finally robbed and left for dead on the streets; without money, he returns to the interpreters apartment to discover that both the man and his mistress have been brutally murdered. Now perceiving (or perhaps only sensing) what the murderers have sought, he removes the money from behind the tile, and uses it to pay for his final journey. In Zürich he discovers that Merz himself does not live there, but that one of his artworks—pictured in the photographs—is housed in a nearby museum. Korin, however, has grown even more deluded—interpreting the strange disintegration of his manuscripts narrative as an evocation and expression of madness that has overtaken the world and believing that the characters from the fiction have joined him in person to seek “a way out. ” He finally finds a way to purchase a gun and makes his way to the museum. Arriving in the middle of the night, Korin attempts to enter the museum, while the guard explains that the building is closed until the morning. Fearing, however, that the late-night stranger may be an artist or even a guest curator, the guard calls the director. Unable to gain access to the museum, Korin seeks shelter in at all-night bar, where, brandishing his gun, he shoots himself in the arm. Even in suicide he fails, although the shot so terrifies him that he collapses, remaining unconscious; the book ends without answering the readers questions about Korins condition: “Later they took him away. ” What we do know, however, is that Korin ultimately does succeed in suicide, for a plaque within the Schaffhausen Museum testifies: “This plaque marks the place where György Korin, the hero of the novel War and War, by László Krasznahorkai, shot himself in the head. Search as he might, he could not find what he had called the Way Out. ” The plaque, strangely enough, seems to indicate that, finally, someone has made sense of Korins story, that his life has mattered; if nothing else, it testifies to his heroic attempt to escape from the horrible fate of the world revealed in both the archivists manuscript and in the novelists fiction wherein the tales are embedded. In fact, the sensitive reader—and anyone who has persisted in reading Krasz-nahorkais bleak tale, perhaps by definition, is such a reader—has perceived, Korin may be an idiot, but like Erasmus man of folly, he is a Christ-like figure, a man of deep compassion, belief, and hope. He is a wise-fool, desperately seeking in a world of fleeting fragments a unified vision that will give meaning to life. Even if his magnificent posting will never be read—and with the death of the interpreter who has sworn to keep the website alive, one can only suppose that eventually that website will disappear (indeed a visit to results in the message: Please be informed that your homepage service has been called off due to recurring overdue payment. Attempted mail deliveries to Mr. Korin have been returned to sender with a note: address unknown. Consequently, all data have been erased from your home page. )—it is the effort to share his discovery that truly matters. In his reading—even his misreadings of the work—Korin has himself become a creator, and in that creation, that recreation, he has brought purposefulness to life. Through each of his absurd attempts to relate information, Korin reveals the transformative power of storytelling itself. It is not just the story that matters, perhaps not even the story that is important, but the telling itself, the very act of creating fiction can completely change lives. The reader perceives this already in the first scene, where the gang of young thugs, seemingly entranced by Korins storytelling even as they disdain it, begins to tell their own tales the next morning about the old man and his bizarre behavior. The stewardess has her own tales to tell about the silly man who entertained her while she was waiting to accompany a disabled traveler; but we perceive also how she is touched and moved by Korins words. Even more affected by the storytelling is the interpreters companion, who in the midst of abused life, waits patiently each morning just to hear the boarders words, touchingly revealed several times in the work, particularly as she turns her bruised face toward him and, in the last scenes, they lay together upon a bed in a gentle conspiracy of hope against what they both recognize are destructive acts by the master of the house, who parallels the Mastemann figure of the War & War fiction. Korins great discovery, the source of both his joy and desperation, evidenced in his suicide, is that all of life matters, all life is “of equal gravity, everything equally urgent, ” a fact that any artful storyteller and reader recognizes as the truth. It is no wonder that Korin hardly knows where to begin and has no comprehension of how to end once he has started. As for Scherezade, once the telling has begun, once one has embarked upon the perilous voyage of the imagination, there can be no end but in death. 1001 nights do not cease in a mere two years and nine months; for the ancient Egyptians the hieroglyph for 1000 represented “all, ” and one more than all, accordingly, stood for an infinity. There is, alas, no “way out, ” no ultimate redemption for Scherezade. The characters of Korins discovered fiction are blessed as well as doomed to begin again and again in their search for paradise, in their foolishly wise search for a world in which everything matters and all is of equal importance. -  Douglas Messerli László Krasznahorkai, The Melancholy of Resistance, Trans. by George Szirtes, New Directions, 2002. The Melancholy of Resistance, László Krasznahorkai's magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumors. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find — music, cosmology, fascism. The novel's characters are unforgettable: the evil Mrs. Eszter, plotting her takeover of the town; her weakling husband; and Valuska, our hapless hero with his head in the clouds, who is the tender center of the book, the only pure and noble soul to be found. Compact, powerful and intense, The Melancholy of Resistance, as its enormously gifted translator George Szirtes puts it, is a slow lava flow of narrative, a vast black river of type. And yet, miraculously, the novel, in the words of The Guardian, lifts the reader along in lunar leaps and bounds. He fully accepted the paradox implied in the conclusion that his movements had direction but no aim. Its been on my shelf for years, but I have only now gotten around to reading László Krasznahorkais novel The Melancholy of Resistance.  Ive actually written about the book before in a post on the various novels for which W. Sebald wrote blurbs.  But this summer James Wood wrote an essay on Krasznahorkai for The New Yorker, which prompted me to get The Melancholy and plunge in. The books plot is skeletal.   An enigmatic traveling troupe with a mere handful of people appear in an insignificant Hungarian village, towing a large wagon that promises to hold “An Extraordinary Spectacle” in the form of “The Biggest Whale in the World. ”  But instead of merriment and wonder, the newcomers, led by someone who calls himself The Prince, attract a thuggish group of outsiders who are mysteriously bent on wreaking violence.  For a brief time the village descends into total social breakdown until the army finally moves in and an uneasy peace returns.  In Krasznahorkais claustrophobic universe, there is no law or order and the state scarcely matters.  Human progress is a pathetic myth, life is an “icy museum of pointless existence, ” and knowledge only seems to lead to “wholesale illusion or to irrational depression. ” Even though a sense of impending chaos and evil  hangs over every page, The Melancholy of Resistance is intensely, almost indescribably comic.  The plot might be simple, but Krasznahorkais style isnt.  Krasznahorkai writes with a maniacal intensity and originality of the bawdy and language-lush novels of the 17th and 18th centuries.  His often long sentences operate like a multi-faceted lens that refracts the world into multiple vantage points almost simultaneously.  The Melancholy is a digressive ramble, the narrative point of view being handed off from befuddled character to the next like a baton. Here are some extracts from a nearly six-page description of Mrs. Eszter sleeping, while three rats rummage through her room. She was a sound sleeper, so after a few minutes she quietly nodded off, and the occasional jerking of her feet, the rolling of her eyeballs under their thin lids and the ever more regular rising and falling of the eiderdown were accurate indicators that she was no longer properly aware of the world about her, that she was drifting further and further from the present enjoyment of naked power which was rapidly diminishing but would be hers again tomorrow, and which in her hours of consciousness whispered that she was mistress of her cold poor possessions and that their fate depended on her… body – perhaps simply because it was no longer covered – seemed to grow even bigger than it already was, too big for the bed and indeed for the entire room: she was an enormous dinosaur in a tiny museum, so large no one knew how she had got there since both doors and windows were too small to admit her.  She lay on the bed, legs spread wide, and her round belly – very much an elderly mans beer-gut – rose and fell like a sluggish pump; her nightgown gathered itself about her waist, and since it was no longer capable of keeping her warm, her thick thighs and stomach broke out in goosepimples… night, in any case, was slowly coming to an end, a hoarse cockerel was furiously crowing, an equally angry dog had begun to bark and thousands and thousands of sleepers, Mrs. Eszter among them, sensed the coming of dawn and entered the last dream.  The three rats, together with their numerous confreres, were scuttling and squeaking in the neighbors rumbledown shed among frozen cobs of well-gnawed corn, when, like someone recoiling from a scene  of horror, she gave a disconsolate snort, trembled, turned her head rapidly from left to right a few times, suddenly sat up in bed. The Melancholy was turned into a film that is usually described in polarizing terms (Roger Ebert, who liked the film, said audiences would either find it maddening or mesmerizing.   Béla Tarrs 2000 film Werckmeister Harmonies translates Krasznahorkais novel into a stunning visual and aural experience, full of luminous and mysterious scenes.  (The 145 minute film is infamous for being comprised of only 39 shots. )  But in doing so, Tarr exchanges the pervasive sense of paranoia and dread for physical angst, and turned Krasznahorkais text to humorless and, at times,  agonizingly slow scenes. I cant do either the book or the film justice, except to recommend both.  I also suggest watching Tarrs 2007 film The Man from London, which has a strong cast that includes one of my favorites, Tilda Swinton.  This is an adaptation by Tarr and Krasznahorkai of a Georges Simenon novel of the same title. - Geegaw points me to Giornale Nuovo ‘s review of Laszlo Krasznahorkais The Melancholy of Resistance, and since the book seems somewhat relevant to the days events, I offer my commentary. The book is nominally about a circus that comes to a small, anonymous, Hungarian town. The circus has two main features: first, a really huge cadaver of a whale (yes, that would be a Leviathan) and second, the Prince, a homunculus-like figure who sows nihilism and violence, and eventually stirs the towns people into a frenzy of rioting and killing, which is responded to in kind by the police. Through this pass two sympathetic figures, the naive man-child Valuska, who does performances of the heavenly bodies in motion for bar patrons, and his mentor Mr. Eszter, who is obsessed with a project of retuning a piano to “natural” harmonies and abandoning the well/equal-temperment that was used as the basis for what Krasznahorkai evidently considers to be the peak of aesthetic achievement, “The Well-Tempered Clavier. ” Krasznahorkais explanations are not especially clear, which is unfortunate, since its clearly the major metaphor of the book. For reference, this explanation seems good, and for those of you with time on your hands, this essay on “Pythagorean Tuning and Medieval Polyphony” seems awfully interesting. The Chicago Reader offers a somewhat-helpful summary, and while this may not be helpful, its pretty amusing. The first piece concludes with a great passage: There are four main reasons why modern scholars have lost interest in the question of what is the best tuning system. First, in the 1930s, Carl Seashore measured the pitch accuracy of real performers and showed that singers and violinists are remarkably inaccurate. For non-fixed-pitch instruments, the pitch accuracy is on the order of 25 cents. Yet Western listeners (and musicians) are not noticeable disturbed by the pitch intonation of professional performers. Secondly, on average, professional piano tuners fail to tune notes more accurately than about 8 cents. This means that even if performers could perform very accurately, they would find it difficult to find suitable instruments. Thirdly, listeners seemingly adapt to whatever system they have been exposed to. Most Western listeners find just intonation “weird” sounding rather than “better”. Moreover, professional musicians appear to prefer equally tempered intervals to their just counterparts. See the results of Vos 1986. Finally, pitch perception has been shown to be categorical in nature. In vision, many shades of red will be perceived as “red”. Similarly, listeners tend to mentally “re-code” mis-tuned pitches so they are experienced as falling in the correct category. Mis-tuning must be remarkably large (>50 cents) before they draw much attention. This insensitivity is especially marked for short duration sounds — which tend to dominant music-making. But no matter, since Eszters obsession is with finding the harmony of the spheres and returning to mathematically pure intervals; all those nasty intervals are to him the indicators of “an indifferent power which offered disappointment at every turn. ” But he doesnt have much luck; in his purer tunings, Bach sounds awful. After the riots, order is re-estabished by Eszters estranged wife, Mrs. Eszter, who cheerfully and aggressively implements new martial law in light of the need to exert control over the town. She is the sort who was born to fill a power vacuum, and she stands in opposition to both Eszter and Valuska, representing the human capacity towards control, organization, and power; shes effective, functional, but brutal and arbitrary. Just like the imposition of equal temperament on music (it is all but said. And when Mr. Eszter retunes his piano back to equal temperament at the end of the book so he can again hear the glory of Bach without his ears bleeding…you can guess what that means. Krasznahorkais moral position is ambivalent, but his ideological layout seems to still be derived from Hobbes (and to some extent, Burke) we are given limited natural tools out of which we construct edifices that can reach heights of beauty as well as oppress and dullen. But they remain arbitrary, able to be torn down and built back up. Eszters appreciation of equal temperament is as good as its going to get. (I dont agree with this; I actually think there are significant problems with this metaphor, but the book offers enough to chew on that Im willing to take it on its own terms. ) Krasznahorkai manages to end the book with a masterstroke, though, with a stunning, sustained description of the bodys biology, which he reveals as a more precise metaphor than temperament. The drama offsets the nagging feeling that Krasznahorkai has left a few loose ends hanging. For the record, Eszter ends up fine, and Valuska is beaten but alive. So I think about this book while watching television and seeing the statue go down for the Nth time, and the looting and the anarchy and the celebrations and the violence, and I think the book may be too nihilistic, not for its painting of inherent natural imperfection or the implication of destruction in every creative act, but for its lack of differentiation: to use the metaphor, for being unwilling to distinguish one tuning from another. The resignation, or lack of attention, makes the book dark for the wrong reason. In pursuing an ornate Faberge egg of a metaphor, Krasznahorkai loses sight of a complex anthropological standpoint and ends up as a reductionist. The book sets lofty philosophical goals and makes immense progress towards them, but I do not find it fully-formed. As a footnote, the movie adaptation, The Werckmeister Harmonies nearly obscures the main thrust of the book and goes for a more tepid, sensory approach, turning the complexities of the book into a parable. David Auerbach Beyond Order and Chaos All that is transitory is but a parable. Goethe, Faust II This line, meant by Goethe to indicate that our worldly lives are but symbols for a greater, permanent afterlife, carries with it ambiguities that Mahler never considered when he used it rather clumsily at the climax of his Eighth Symphony. If we are all Christians, how easy to dispose of the travails of this life by casting them as imperfections of a greater, lesser-known world. But if we do not know that world, how do we construct that parable, and how do we sustain it in the face of realitys constant resistance to conform to it? This is the question that the Hungarian author László Krasznahorkai pursues in his fiction. In the post-war years, many European authors, especially those from Communist states, engaged in surrealism, parable, and allegory as a way of containing the mid-century chaos that spilled over from the war, where the psychology and rationality of modernism no longer seemed capable of fighting the irrationality of Nazism and Communism. While there have been some stunning works by Ludvik Vaculik ( The Guinea Pigs) Bohumil Hrabal ( I Served the King of England, Too Loud a Solitude) Imre Kertész ( Detective Story, Liquidation) and others, this general approach has more frequently produced limp sentimentality and disposable weirdness (Milan Kundera and Victor Pelevin, spring to mind. Within their own works, Günter Grass and Ismail Kadare have met with both success and disaster plowing this field. It is Krasznahorkai who has, to my knowledge, engaged in the deepest investigation of how these metaphorical understandings are formed, how they succeed, and, most importantly, how they fail. Like Kertész at his best, he questions the process of making meaning. Beginning with Satantango in 1985, Krasznahorkai has written, along with stories and scripts, at least half a dozen novels. Only two of these, The Melancholy of Resistance (1989) and War and War (1999) have been published in English (in translations by George Szirtes) though further efforts are currently afoot. I want to focus first on The Melancholy of Resistance, because it is a more linear, less allusive work than War and War. In outline, The Melancholy of Resistance is the story of the visit of a carnival to a small Hungarian town. The carnival brings its two main attractions, “The biggest whale in the world” held dead and preserved in a trailer, and The Prince, a chirruping demagogue who ominously speaks through his interpreting “factotum” and foments mass riots. After great violence The Princes followers are eventually subdued, and after the departure of the carnival a new order is established by the tyrannical Mrs. Eszter, who has placed the town under martial law. I tell the story in its barest form because adding anything more would be misleading. The storys meaning is constantly in doubt; this is the very method of the book. The main characters are not those above but the intuitive naïf Valuska and the reclusive crank Mr. Eszter (Mrs. Eszters estranged husband. Valuska sees but cannot explain: “He had no sense of proportion and was entirely lacking the compulsive drive to reason, ” and so before hell breaks loose he surrenders himself to his circumstances and expects nothing of the universe. Eszter, in contrast, vainly seeks a new, more natural piano tuning than the arbitrary well temperament of Werckmeister, used by Bach in The Well-Tempered Clavier. Both seek a certain harmony that is beyond human-made reason. But natural harmony does not appear. The book is about order and chaos, with The Prince loudly declaring he is the latter. His factotum translates the chirruping: He says, he is always free in himself. His position is between things. And in between things he sees that he is he is himself the sum of things. And what things up to is ruin, nothing but ruin. Only he can see the whole, he says, because he can see there is no whole. And for The Prince this is how things must be. as they must always be. he must see with his own eyes. His followers will wreak havoc because they understand his vision perfectly. His followers understand that all things are false pride, but dont know why. The Prince knows: it is because the whole does not exist. The closest antecedent I see for the Princes inflammatory chirruping is the sound of the phone at the beginning of Kafkas The Castle: The receiver gave out a buzz of a kind that K. had never heard on a telephone. It was like the hum of countless childrens voices—but yet not a hum, the echo rather of voices singing at an infinite distance—blended by sheer impossibility into one high but resonant sound that vibrated on the ear as if it were trying to penetrate beyond mere hearing. The buzz is infinite and impossible, beyond human sense, just as, according to The Prince, the nature of the whole is beyond human understanding. But in Kraznahorkais vision the menace from such incomprehensibility is more devastating: havoc, ruin, and violence. Pages after the Princes speech, Mrs. Eszter, who will enact her new order “like clockwork, ” is already planning for the war against The Prince and his followers. There is much talk like the factotums on both sides, and even though it generates terror, it never quite adds up. Valuska, caught up in the conflict, finds that he cannot make sense of it in the way that he once thought he could, through openness and detachment. Likewise, Mr. Eszter gives up on discovering the natural, perfect tuning he is searching for and returns to the imperfect Werckmeister tuning to hear Bachs human order restored. The same tension between order and chaos manifests itself in the novels very sentences. Its difficult to evaluate Krasznahorkais style not knowing Hungarian, but having read him in English, French, and German, I think I can triangulate some idea of the effect of his extremely lengthy, disorienting sentences. Of Valuska, we read: One superfluous phenomenon, however, Eszter immediately added, did not indicate merely that people had ceased to note and were actively neglecting such beings, but that, in his own view, the refined sensibilities and spirit of observation that registered such generosity and incorruptibility as distinct virtues and ornaments did so in the certain knowledge that there was nothing, nor ever was anything, to which such virtue might refer or quality ornament, or, to put it another way, that it referred to or ornamented some singular, useless and undemonstrable form—like some kind of excess or overflow—for which ‘neither explanation, nor apology existed. The story is orchestrated with passages like these, which (if you are of a certain temperament) entrance and confound as they twist back on themselves. They may bear some stylistic similarity to Thomas Bernhard, but that is all at the surface. While Bernhard uses rhythmic repetition and slight variation to hone in on precise but ambiguous motifs, Krasznahorkai piles on contradictions and reversals: not explicitly, not dialectically, but in the ever-lengthening conditions, slight disparities, and digressions inserted into these long sentences. (Javier Marias has used similar devices, though to more prosaic and less effective ends. What seems like a rephrasing often turns out, on closer examination, to be a reimagining, as one idea turns into another. Far from a stylistic tic, this tortuous writing is the symbolic center of Krasznahorkais work. Perhaps its better seen in a more concrete example: Valuska did, however, have to admit that it had been some time since he had made a conscious choice in the matter of his direction, and rather than nearing a place of potential rest he seemed to be getting ever further from it, and, no use denying it, there was something disturbing in the otherwise insignificant fact that the place he seemed to be approaching was indeed the railway station, though, he thought, the similarity ended there, and so, since these contrary thoughts continued to disturb him, he decided simply to throw the notebook away, for it would surely be a serious mistake to waste any part of his remaining strength. The disorientation is grammatical, semantic, descriptive, and thematic. Concept and sensory experience are dissolved into an increasingly undifferentiable mass before were tentatively pulled back out, only to fall in again. As János Szegö has written of Krasznahorkais story “He Rises at Daybreak”: The towns squares and museum rooms turn into labyrinths, with that labyrinthine quality being faithfully mapped by the sentences, and if the reader is identified with the protagonist, then the reader, in some cases when it seems that the sentence in which he or she is proceeding will grind into nothing, is only able to trust that there is an end somewhere. (tr. Tim Wilkinson) This is the serpentine motion that is neither progress nor repetition, the forward and backward steps of the “tango” that explicitly structures Satantango. This kind of movement sheds light on how Krasznahorkai attempts to create a space for art that exists outside society in the “spiritual” and “real” worlds simultaneously. His style deliberately collapses these two worlds by moving between them with increasing confusion. The consequent dislocation makes good on Krasznahorkais stated view that an artist stands at a liberating distance from contemporary reality: The impact that a writer can exert over his or her own society is far more subtle, almost indecipherably complex and indirect, working through a number of transformations. I even doubt whether at such a degree of remoteness you can still call this an impact and an influence. In Oriental cultures, this question has found an almost radical solution: art had absolutely nothing to do with the direct, palpable reality of its own age. On the contrary, real artists were not “members” of their own society, in the same way that saints never are. This way, the art they produced did not exist as an integrated, definable, graspable part of society. Instead, it found its place in an emphatically spiritual space which nonetheless was still perceived as a part of reality. It is limiting to see The Melancholy of Resistance as a Communist allegory, for even as it relates to these events it relentlessly confuses all possible interpretation of them. It is in the tradition of perverse authors, like Kafka, Kleist, and Ingeborg Bachmann, but also Joyce, Goethe, and even Dante, who all pushed against the limits of the received ideas of their time to construct a more autonomous world in the “spiritual space” of which Krasznahorkai speaks. Contemporary reality becomes mere material for deeper, ambiguous parables. The Modern Presentation of Mythology I think of this approach as his modern presentation of mythology, suspended between the literal and the theoretical. It captures what Hans Blumenberg terms the “ poetry and terror, ” the opposing origins of mythology. And indeed, myth may be the best way to approach The Melancholy of Resistance. Years ago I tried to make a logical, theoretical structure out of the novels ideas and characters but only created a reductive and incomplete failure. Two particular myths offer a more incisive, more successful way of reading the novel. The first is that of those two great primeval creatures, the Leviathan and the Behemoth, each the indestructible monster of sea and land, respectively. They served as the titles for Hobbess two books: Leviathan, a portrait of the ideal but draconian political state; and Behemoth, a portrait of the breakdown of England into civil war. Once more, brutal order and violent chaos. If the dead, static leviathan is the whale of the circus and Mrs. Eszters new order, then the incomprehensible, ever-chirping Prince could be the behemoth. The factotums rhetoric is uncannily reminiscent of the apocalyptic, outsized terms used by Carlyle, in this passage quoted by Ruth Scurr: For ourselves we answer that French Revolution means here the open violent Rebellion, and Victory, of disimprisoned Anarchy against corrupt worn-out Authority: how Anarchy breaks prison; bursts up from the infinite Deep, and rages uncontrollable, immeasurable, enveloping a world; in phasis after phasis of fever-frenzy; — till the frenzy burning itself out, and what elements of new Order it held (since all Force holds such) developing themselves, the Uncontrollable be got, if not reimprisoned, yet harnessed, and its mad forces made to work towards their object as sane regulated ones. It is a mistake to see the Prince and Mrs. Eszter as some allegory of Communism. As this passage shows, it is a much greater, more generalized political myth Krasznahorkai is invoking, of anarchy and authority, both irrational and violent. Their opposition gives us the movement of the novel. The second myth is the primal origin story from Hesiods Works and Days, in which Chaos alone gives birth to Erebus and Night, the two realms of darkness, one the shadow realm of Hades and the other the celestial realm of the sky. If darkness constitutes the first two forms of order, distinct from chaos, then it represents the absolute order described in Leviathan and established by Mrs. Eszter. It stands in opposition to the Princes chaos where “intolerable too [were] the inexplicable ground-rules of human conduct, ” as one of the Princes rioters writes: where any rules are intolerable. What is going on is not the rejection of morality but the rejection of any organizing principle whatsoever: an embrace of chaos against conceptual integrity. So the imposition of order is less a restoration of decency than some predictable form that allows for the (tentative) avoidance of the unknown. Yet the darkness does permit the possibility of light (and Bachs music) to emerge through sheer contrast, just as Erebus and Night gave birth to the goddess of day. These analogies are not meant to be precise; the point is that Krasznahorkais approach undermines the exactitude of philosophy, thus entering the realm of mythology, half-spiritual and half-real. Philosophys explanations, by which I mean rational conceptualizations, cannot sit next to chaos. It is only mythology that can make space for the chaos of the Prince and see that existence is not merely a contest of competing orders and ideas but the chronicle of how those orders are temporarily imposed onto a brute chaos that endlessly resists them. Though many novels are praised for diagnosing the malaise of our time (isolation, capitalism, inauthenticity, suburbia, etc. Krasznahorkais books illuminate why their explanations are so often trite. Their authors are frequently trapped in the same myopia as the society they supposedly critique, dispatching received ideas whose premises they do not question, whose premises arise from a lack of questioning the greater conceptual schemas which are seen to fail in The Melancholy of Resistance. For those who believe that in 20 years time Jonathan Franzens The Corrections will seem as dated as Norman Mailers or Sinclair Lewiss lesser efforts do today, Krasznahorkai provides a more universal fictional landscape. Ironically, it is perhaps The Werckmeister Harmonies, the film adaptation directed by Béla Tarr (with a screenplay credited to both him and Krasznahorkai) that shows how successfully his work can be untethered from the present-day. The plot is more or less preserved, but the conceptual and textual manipulation of the novel does not survive in the sparse dialogue or even in the images. Tarr himself has said that he doesnt much care about “ideas” per se, and this is probably the most auspicious way to adapt Krasznahorkais work. Instead, Tarr holds the camera for immensely long periods (there are only about 70 shots in the entire film) on people walking, people rioting, and a long tracking shot of Valuska looking at the immense whale. Unlike Tarkovsky or Miklos Jancso, where the shots provide a sensuous or kinetic immersion in the action, Tarrs camerawork stays with an ordinary and very gray scene until, as when a word is repeatedly spoken, it becomes alien. This is where he most closely approximates the effects that Krasznahorkai achieves with his labyrinthine sentences. To the East In the twenty years since Melancholy, Krasznahorkai has moved beyond work that could be easily identified with the Communist or post-Communist situation. (Interviews with him suggest that he never intended his work to be fixed in such a narrow fashion. He has written several novels dealing with the culture of China and Japan, where he has traveled extensively. In From the North by Hill, from the South by Lake, from the West by Roads, from the East by River, a modern Japanese man identified only as “Prince Genjis grandson” travels from present-day Kyoto to an ancient monastery in search of a garden depicted in an ancient painting. The reality of the situation remains open to question, it soon becoming apparent that this is the conceit of the novel. The grandson escapes the labyrinth of the city to the calm but menacing space of the monastery, finally arriving at a secret garden where he finds a momentary, possibly illusory clarity of vision. The point is not to extol the garden over contemporary life but to portray an ambivalent aspect of existence itself: that same space between the real and the conceptual that Ive been calling mythology. In War and War, the misfit archivist Korin finds that space as he attempts to translate and publish online a mysterious manuscript that describes four distraught men traveling through different historical eras and locales. They repeatedly encounter a nemesis figure named Mastemann, another figure like Mrs. Eszter who seeks a new world order where “money and all that stems from it would no longer be dependent on an external reality, but on intellect alone. ” He is always wrong, of course: the 16th-century Genoa that he lives in and extols would lose half its population to plague in the following century and suffer permanent decline thereafter. Mastemanns efforts become just another form of war against the uncontrollable terror of which Blumenberg speaks. As Korin recounts the manuscripts story to his translator, it becomes evident that he has been pulled into a space halfway between mythical history and the present day. It has sensitized him to, well, something. He sees the skyscrapers of New York as ziggurats, towers of Babel. The effects are not salutary; he becomes unable to cope with the contemporary world around him, even as he fails to comprehend the import of the manuscript. And yet the description of the manuscript is familiar: He, in his dense, stupid, unhealthy way had managed to grasp nothing, but grasp nothing of it in the last few days. the manuscript was interested in one thing only, and that was reality examined to the point of madness, and the experience of all those intense mad details. the same sentences endlessly repeated but always with some modification, now with some filling out, now a little thinner, now simplified, now darker and denser. Rather than deserting the world for some Gnostic realm, Korin is drawn into examining it too closely. He is too sensitive for the world by being too sensitive to it, ejected from the “tangled maze of vulgar expediency” that constitutes the order of our own world, just as it did in Genoa and in Kyoto. This is the terrifying labyrinth that we mostly manage to forget. Both of the later novels go further than Melancholy in analogizing natural order and human order. Retaining the same oblique style, they downplay traditional narrative characterizations in favor of descriptions of landscapes, history, and scientific processes. Geology, biology, and even math enter into the narratives; in From the North by Hill a French crank rants against Cantor and infinity. These scientific explanations, Krasznahorkai makes clear, are also modern parables, and their presence creates the same sort of defamiliarization that occurred to Valuska and Eszter. Christian allegory has a rich history in Western culture, climaxing perhaps in Langlands Piers Plowman, but as Christian myths were mutated or destroyed these surrealistic or metaphorical worlds lost their overwhelming power. As Erich Auerbach says of Christian interpretation, “Such attempts were bound to founder upon the multiplicity of events and the unfathomableness of the divine councils. ” The literary techniques live on, but with mixed results, as writers reach for a “spiritual space” beyond immediate reality without quite knowing what they are reaching for. By taking apart this very process and showing the valiant, often traumatic results of witnessing the terrifying mythic forces that cause our understanding to fail, Krasznahorkai earns his place as a seminal author of our time. David Auerbach In the list of memorable first sentences, the first sentence of Laszlo Krasznahorkai's The Melancholy of Resistance deserves at least an honorable mention. It is 174 words long. And rarely does a shorter sentence make an appearance in the book. The story centers around a circus show's visit to a small town somewhere in the Hungarian countryside. The act boasts as its main attraction the body of "the largest whale in the world" and is accompanied by a mysterious and grimly silent group of followers. The heart of the book lies not in story, however, but in mood. The tone of Krasznahorkai's novel is dark, the tale cynical yet still touching. Written in a difficult, elastic style, The Melancholy of Resistance takes some effort. Nevertheless, this unheroic saga of entropy makes for a strangely enthralling book. The action takes place during an unseasonable cold spell. The characters circle round and round with the body of the whale their pivot and we see their world disintegrate. Stubborn in the face of danger is the musician Mr. Eszter, who, disillusioned with the twelve-tone scale, shuts himself up in his apartment in a "strategic withdrawal in face of the pathetic stupidity of so-called human progress. At the forefront of the fight against weakness and vacillation (and untidy yards) is his Machiavellian wife, Mrs. Eszter, whose social elevation to president of the women's committee inspires her to try for new heights of power. She is a deliciously awful figure, and provides much of the book's humor. And there is Valuska, whose eyes see nothing but the stars. These and other characters make there way through a town that is tight with tension and, unaccountably, covered in garbage. The book looms with a sense of unaccountable, yet strangely inevitable catastrophe, as if some vital yet undetectable modification had taken place in the eternally stable composition of the air. And behind the body of the ever-present whale lurks another figure whose hands seem to hold hidden sources of power. Into a world sordid and pointless, hysterical and dingy, the body of the whale brings a climax and, for each character, a change in what was previously a stable universe. The main characters whose thoughts we can see are handled mercilessly but skillfully; the reader is handed off between them infrequently, but transitions are seamless. The sometimes-inside, sometimes-outside view of each characters has its benefit. When we are first with Mrs. Plauf, for example, the discomfort and embarrassment she feels on her train journey absorbs us. Her outrage seems completely appropriate. It is only when we have left her and are traveling with her son that we see her prudery and shallow, fussy nature. The characters' endless orbits are traced by Mr. Krasznahorkai with what seem similarly limitless sentences. Krasznahorkai is indeed known for length of sentence, even in Hungarian, where long sentences are common. Krasznahorkai's language may be difficult to adjust to at first, but the enormous loops of sentences begin to acquire continuity after a while. He handles the wonder and shame of the heartfelt Valuska with delicacy and pathos. Valuska's blinding sense of joy in the sheer existence of "the cosmos" is rendered as simple as his friendship for the bitter Mr. Eszter. In the best tradition of storytelling, the characters move from place to place during the action. Only the whale is immobile. But nowhere does the story take precedence over atmosphere and language. The description of physical decay that ends the book, complete with pathological descriptions of rotting tissues, is almost lyrical. This poem of destruction is actually crisper than the rest of the text. As a warning, the back copy asserts that the novel "far surpasses all the lesser concerns of contemporary writing. In general, Mr. Krasznahorkai's style is heavy, though never ponderous or didactic. But the story seems to far outweigh its less than 300 pages. Translator (and poet) George Szirtes has done an admirable job, and cannot be accused of trifling—he spent four years on the project—yet the tone of the Hungarian comes through. The book lacks the concision and clean prose style of English, and some readers may find it hard going. The Melancholy of Resistance was first published in Hungarian in 1989, the year when state socialism in Hungary and other Central European countries ended, and a close atmosphere of those pre-1989 times can be felt in the book. Even the characters, while not exactly stock cliches, are understandable figures of those times. Eszter is the refined intellectual, disgusted with the world, who no longer bothers. Mrs. Eszter is the successful leader. Reprehensible and with an iron will, she knows when to use people and she knows what she wants. There are the brutal military men and scurrying toadies and, of course, the innocent. The gray inevitability of decline, the militant and self-serving leadership of the ambitious Mrs. Eszter, and the wasted efforts of Mr. Eszter and Mrs. Plauf to keep the world at bay all combine to create a mood built equally of tension and futility. In the midst of this theme of entropy and disintegration, sits the whale, gigantic and inscrutable. hardly a subtle figure. Neither good nor evil, it is a symbol of the inevitable. Resistance is melancholy indeed. No matter how fantastic and terrible, what must come cannot be avoided. - Maya Mirsky “Reality examined to the point of madness. ” What would this look like, in contemporary writing? It might look like the fiction of László Krasznahorkai, the difficult, peculiar, obsessive, visionary Hungarian author of six novels, only two of which are available in English, “The Melancholy of Resistance” and “War and War, ” both published by New Directions. Postwar avant-garde fiction has tended to move between augmentation and subtraction. Mentions Claude Simon, Thomas Bernhard, José Saramago, W. Sebald, Roberto Bolaño, and David Foster Wallace. Of all these novelists, Krasznahorkai is perhaps the strangest. His tireless, tiring sentences feel potentially endless, and are presented without paragraph breaks. Krasznahorkais brilliant translator, the poet George Szirtes, refers to his prose as a “slow lava-flow of narrative. ” Its often hard to know exactly what Krasznahorkais characters are thinking, because his fictional world teeters on the edge of a revelation that never quite comes. László Krasznahorkai was born in Gyula, in southeast Hungary, in 1954. He is probably best known through the oeuvre of the director Béla Tarr, who has collaborated with him on several movies. Mentions “Werckmeister Harmonies. ” In “War and War, ” György Korin, an archivist and local historian, travels to New York, finds lodgings with a Hungarian interpreter, and begins to write the text of the transcendently important manuscript. Slowly the reader confirms what he has suspected from the start, that “the manuscript” is a mental fiction, a madmans transcendent vision. Krasznahorkais most recent work in English is not a novel but a collaboration between the writer and the German artist Max Neumann. “Animalinside” (translated by Ottilie Mulzet, and published jointly by New Directions, Sylph Editions of London, and the Center for Writers and Translators at the American University of Paris; 20) is a series of fourteen exquisite and enigmatic paintings, with paragraph-length texts by Krasznahorkai. Resembling, in form, Becketts “Texts for Nothing, ” Krasznahorkais words often seem to be a commentary on late Beckett. Krasznahorkai is clearly fascinated by apocalypse, by broken revelation, indecipherable messages. His demanding novel “The Melancholy of Resistance” is a comedy of apocalypse, a book about a God that not only failed but didnt even turn up for the exam. The pleasure of the book flows from its extraordinary, stretched, self-recoiling sentences, which are marvels of a loosely punctuated stream of consciousness. James Wood This interview was originally published in issue number 204 of The Hungarian Quarterly and is reprinted here with the joint permission of the editor and the interviewer. Ágnes Dömötör: Many people have the impression that your books are hard to read and to understand. Thats a myth, but dont you think youve got some bad PR? László Krasznahorkai: You know, the problem is that anything thats the least bit serious gets bad PR. Kafka got bad PR, and so does the Bible. The Old Testament is a pretty hard text to read; anyone who finds my writing difficult must have trouble with the Bible, too. Our consumer culture aims at putting your mind to sleep, and youre not even aware of it. It costs a lot of money to keep this singular procedure going, and theres an insane global operation in place for that very purpose. This state of lost awareness creates the illusion of stability in a constantly changing world, suggesting at least a hypothetical security that doesnt exist. I see the role of the tabloid press somewhat differently. I cant just shrug it off and say to hell with it. The tabloid press is there for a serious reason, and that reason is both tragic and delicate. AD: The tabloids satisfy our primal hunger for gossip, like old peasant women sitting on village benches long ago. LK: The old peasant women gossiped on a level that the modern, industrialized gossip factories of the tabloid press miss by several orders of magnitude. An old woman in the village will stir up shit in a human space that she can take the measure of. Its not the same story when youre dealing with ten million people. The tabloid press doesnt necessarily work from the premise that people dont need anything else or couldnt understand anything else. The structure of vulgarity is very complex. AD: Does pop culture reach you in any form? LK: Absolutely. Im sure I could name ten new rock groups from 2011 that you havent even heard of. AD: So you go to record stores and concerts? LK: When I was staying with Allen Ginsberg in New York, the studio of David Byrne, the former leader of Talking Heads, was very close by. Byrne would often come over to Ginsbergs place. Sometimes we would make music together in the kitchen, and I became part of this polygon with Byrne, Philip Glass, Patti Smith and Ginsberg, where artists would give their CDs to one another. They still do that, to this day. For instance, I never heard of Vic Chesnutt while he was alive; and yet I think he is one of the best in this whole rock culture. An American friend sent me Chesnutts entire lifes work. But I go to concerts less and less. The last thing I saw was a fantastic show in Berlin: it was Joan Wasser and her orchestra, billed as “Joan as Police Woman. ” It was insane. But Ive got a bad leg and I cant stand for four or five hours at a concert. AD: Are you interested in TV and movies? LK: I cant watch movies, but Ive got a TV set and I mostly watch documentaries. I dont watch much Hungarian TV, but rather English, American, German, French or Spanish channels. AD: How do you divide your time between New York, Berlin and Pilisszentlászló? LK: Ill go to New York again in 2012. I live mostly in Berlin, but Ive been spending a lot of time in Pilisszentlászló, and I would like to spend as much time there as possible. I love that place. AD: Many of your works deal allegorically with the end of the world or the demise of civilization. In what other era do you think people might have felt similarly: ‟thats it, one kind of civilization has failed? ” LK: I thought youd ask at the end of which era people did not feel that way. There have been many eras like ours when people not only thought an era was over but that the whole world had come to an end. We know little about the end of the earliest golden ages, the Incas, the Egyptians, the Minoans, the Zhou Dynasty in China. Much better known is the decline of the Roman Empire, because the end game lasted for several centuries, and it is very well documented. And it is clear that to a citizen of ancient Rome, when Rome fell, it wasnt just the end of his world but the end of the world as such. What had been round till then, an image of perfection, suddenly became a triangle. Yet for the Christians, this became the starting point—on the way to their own failures and grave crises. European and non-European history is nothing but a series of failures and crises. Its a terrible cliché, but its true: crisis is the default state of history. AD: Our age differs from the ends of earlier eras in that we live in a global culture, and furthermore, we are not fighting enemy ideologies. Can you imagine how our time will be seen 200 years from now? LK: If there will be such a thing as “200 years from now, ” then they will find us very amusing. Humor will play a more significant role in their judgments about the past. Because if we survive another 200 years, which I doubt, then we will have good reason to be cheerful as we look either ahead or back to the past. I have the feeling that if someone reads this conversation 200 years from now, theyll have a lot of fun. They will be surprised that anything has survived, you know, anything at all. AD: In other words, you dont see our era as particularly apocalyptic. But then, why do you write about destruction so often in your books? LK: Im personally involved in the apocalypse… Its interesting how your relationship to that changes in the course of your life. You think about it most when youre young, particularly in connection with death, because you still have a certain courage that youre going to lose when your own death is getting closer. Later youre just afraid. When I was young, I didnt feel the sanctity of birth. I tended to consider birth as the starting point of a journey toward failure, and Id sadly look out the window for days on end into this grey light that was all that had been given to me. Anything that could arouse compassion had a great impact on me. I was particularly responsive to those aspects of reality and the arts that reflected sadness, the unbearable, the tragic. And I didnt know what to do with anything positive or joyful. Happiness bothered me. AD: And when did that change? LK: There is no single moment we can name, not because such moments dont exist but because we never know in which particular moment the transformation occurs. Q; One of your most conspicuous trademarks as a writer, since your very first work, have been your long sentences. It seems to me that these long sentences fit your most recent works, which deal with Oriental themes, better than the older ones. Their slow pace reflects an Oriental concept of time. Theyre in no hurry, just like a monk working on a mandala. Did this different concept of time in Oriental cultures really influence you? LK: What would reflect an Oriental concept of time would be not long or short sentences, but silence. The sentence structures that I use result, rather, from an internal process. I generally spend my days alone, I dont talk much; but when I do, then I talk a lot and continuously, never ending a sentence. Many people are like that. You may notice that the majority of people talk the way I write. AD: Do you ever look up on the Internet what readers have to say about your work? There are online reading groups where your books are discussed; other sites make comments on your interviews. LK: If you mean Hungarian sites, I dont know too many of those. Recently one blogger suggested that I should be hanged. I immediately put on my space suit, started the engine and went to the moon for a while. AD: I notice that your greatest fans are not intellectual types wearing fashionable shoulder bags; theyre mostly average young people. LK: Thats reassuring but, as a matter of fact, not too surprising. Perhaps young people are the hardest to influence; perhaps they like to be seen as free, and they like it even more if they see someone confronting anything and anyone for their sake. For them, nothing has been decided yet. I think were talking about those who havent yet decided how to deal with their forebodings, or where to hide their imagination, their desires and their dignity in this rotten world we live in. Were talking about those for whom a book is not just a book; they know that while we hold on to the book forcefully, there is something before the book and something after the book, and thats what the book is for. AD: How do you relate to your fellow Hungarian writers? Do you ever e-mail one another? Would you tell György Spiró, for instance, ‟I liked your last book, Gyuri? ” Im asking because in an earlier interview you seemed to see yourself as an outsider on the literary scene. LK: I dont just see myself as an outsider, I am one. Which doesnt mean Im not happy to see colleagues I admire; after all, we share the same fate. But I also worry about them. I worry, for instance, because theyre in literature, something that you can still sell for awhile, but its getting harder and harder. This kind of communication is really over and done with. Im afraid this kind of literature is not sustainable. AD: You mean its not just the authority of literature thats finished but literature as such? LK: The so-called high literature will disappear. I dont trust such partial hopes that there will always be islands where literature will be important and survive. I would love to be able to say such pathos-filled things, but I dont think theyre true. AD: And those who are still reading today, what will they do then? LK: They probably wont read. Could it be that people will once again begin to think for themselves? By thinking, I mean original thinking, without someone holding their hand. If I read the works of thinking people, they inspire me to think, but at the same time they give me categories and dont set me free. Between them and Heraclituss rippling stream, they interpose a book. Maybe at some point in the future, there will be nothing between them and the rippling stream. And theyll get nice and soaked. AD: You mean well lose the habit of reading because were too lazy. But it takes more energy to think than it does to read. LK: Youre forgetting that human history is full of catastrophes, and its the catastrophes that force people to think. But I have another suggestion: we will return to a post-post-postmodern kind of sacrality. The spoken word will once again have a sacred force, which the written word will serve to record. I dont mean some kind of archaic world, where were going to moon about by Stonehenge; on the contrary: the circumstances having changed, a completely transformed view of the world will be considered natural. I can imagine many possible scenarios, except that things will go on the way they are. AD: Your works were praised by W. Sebald and Susan Sontag; Allen Ginsberg was a friend of yours. Whose recognition has meant the most to you in your life? LK: Those I received as an adolescent. Thats the time when one is really at the mercy of what others think. One recognition came from my classroom teacher in high school, József Banner, who helped me by continually encouraging me. He always put me on display in Hungarian class: this is how it should be done. I was incredibly proud, because we feared and venerated him, and praise coming from a man like him meant more than one can express in words. Then, when my first piece was published, it became part of a literary network that I hadnt known existed. To me, literature meant Sándor Weöres, János Pilinszky, Péter Hajnóczy. When I was first introduced to Miklós Mészöly, and he told me how much one of my short stories had influenced him, you cant imagine what that meant to me. Maybe if that hadnt happened, my whole life would have been different. AD: Suppose someone who has never read anything by you picks up this interview and says: what an interesting guy, which one of your books would you recommend to them? What would be a point of entry to your lifes work? LK: The Old Testament. The Book of Revelation. Let them choose from my books at random. AD: When was the last time you laughed and when was the last time you wept? LK: Aside from the fact that I have a daughter I have practically not been allowed to see since she was five, which makes me cry, internally, all the time—I really cried last when we were shooting the pub scene from Sátántangó with Béla Tarr. One of the characters was singing a song, drunk out of his mind, with accordion accompaniment. That song, and the way he sang it, was so moving that, as I was sitting there, I suddenly felt tears pouring down my face. My left leg fell completely asleep. Then it was over, I realized where I was, sitting there with Béla and watching the monitor. And thats when I realised that Tarr, who was also misty-eyed, had been squeezing my left leg with enormous force the whole time. In order to hold on to this wonderful moment. So that nothing would happen and we got the scene right. And we did. When did I laugh last? When I saw and heard you, I laughed for joy. Because of the way you ask questions. Because you care. And because I again have someone to talk to. Someone I can tell these things to. - László Krasznahorkai interview: This society is the result of 10, 000 years.  by Richard Lea Conversations with László Krasznahorkai by Mauro Javier Cardenas László Krasznahorkai to Colm Tóibín: “I was absolutely not a normal child. ” Interview with László Krasznahorkai by George Szirtes Interview with László Krasznahorkai  By James Hopkin Someones Knocking at My Door By László Krasznahorkai Why is New York's literary crowd suddenly in thrall to Hungarian fiction? by Hari Kunzru James Wood: Madness And Civilization. The very strange fictions of László Krasznahorkai I Don't Need Anything from Here László Krasznahorkai I would leave everything here: the valleys, the hills, the paths, and the jaybirds from the gardens, I would leave here the petcocks and the padres, heaven and earth, spring and fall, I would leave here the exit routes, the evenings in the kitchen, the last amorous gaze, and all of the city-bound directions that make you shudder, I would leave here the thick twilight falling upon the land, gravity, hope, enchantment, and tranquility, I would leave here those beloved and those close to me, everything that touched me, everything that shocked me, fascinated and uplifted me, I would leave here the noble, the benevolent, the pleasant, and the demonically beautiful, I would leave here the budding sprout, every birth and existence, I would leave here incantation, enigma, distances, inexhaustibility, and the intoxication of eternity; for here I would leave this earth and these stars, because I would take nothing with me from here, because I've looked into what's coming, and I don't need anything from here. translated from the Hungarian by Ottilie Mulzet.

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