TribecaFilmFestival Tagged Articles at Cinematical

It all started in Venice in 1932 – the world's first film festival. Then other festivals began popping up for a variety of reasons, some political, given the growingly fascist government in Italy: Cannes in 1946, Edinburgh in 1947, Berlin in 1951, and so on, until the present day, when a journalist can spend a decent portion of the year (and salary) covering Sundance, the Toronto Film Festival, Telluride, South by Southwest, Fantastic Fest, New York Film Festival, Tribeca Film Festival, CineVegas, and, more recently, San Diego Comic-Con, just to name as a few, as well as the aforementioned international festivals if they're really lucky.

As time has passed, the fests have become more than venues for movie buyers and sellers to haggle over movies or arbiters of taste in the finest of arthouse flicks. Along the way, critics and journalists have gotten into the festival circuit, which is a win-win for the movies and the writers; small films get the buzz that's sometimes a good push for them to get picked up by distributors, and the writers get access to films before they get hot, making them tastemakers and generally ahead of the curve when it comes to Oscar season, film trends, and insider-y scoops that can only occur when you find yourself sharing an elevator with a Weinstein. Festivals can be great litmus tests for movies that take forever to get picked up – you can pretty much guarantee they're gonna be a stinker by the time they arrive in theaters for a weekend and disappear after that.

Conor McPherson's The Eclipse had several suitors sniffing around as soon as the spooky tale made its world debut at Tribeca on April 24th, but in the end Magnolia Pictures won out with a mid-six figure deal for worldwide distribution rights.
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Sony Pictures Classics, Miramax, Lionsgate, and Roadside were all eyeing this story starring Ciaran Hinds, who won the Best Actor jury prize for her performance. Hinds plays Michael Farr, a widower and would-be writer in Cohb, Ireland, who is smitten with Lena, a horror author from out of town. Farr has quite a few things on his mind lately: the death of his wife, contending for Lena's affections with a smug American writer (Aidan Quinn), and the recent ghost he's been seeing.

Cinematical's Eric D. Snider wrote in his review of The Eclipse, "A widower dealing with grief, a romantic triangle, and an illicit affair are more than enough to fill one story. The addition of ghostly visions could have been a way to make the film stand out from its class; instead, those elements merely feel tacked on."

Interestingly enough, it's just that combination that had distributors talking, in the hopes that The Eclipse could appeal to both "genre" fans (i.e. fans of the horror and supernatural) and romance/drama fans. Who will really be lining up to buy tickets seems to be a big question mark for reviewers, but in a year when even Woody Allen's ballyhooed return to NYC fell flat, The Eclipse has, at the very least, gotten people talking. The Eclipse, which currently has no release date, is the first big Tribeca deal in several years.

The eighth edition of the Tribeca Film Festival drew to a close very late Sunday night after a full day of screenings. The slimmed-down fest was evidently somewhat easier for the press and public to navigate, and the good films still bobbed to the surface on their own merits.

Awards. The competition categories were decided upon by all-star juries, but the paying customers got their say as well. Raymond De Felitta's comedy City Island won the Audience Award, edging out Marshall Curry's doc Racing Dreams and Ron Carlson's historical epic Mascots vs. Midgets. (Just kidding on that last description, of course; see "Our Coverage" below.) Racing Dreams previously won the jury award for Best Documentary Feature. The top 10 audience favorites are listed at the fest site.

Deals. Magnolia Pictures picked up Conor McPherson's drama The Eclipse over the weekend. We'll have a separate story on this distribution deal.

Our Coverage. Erik Davis said that Stay Cool "leaps into your lap with its perky, original concept, but then slowly but surely fails to deliver ... well, pretty much everything." Eric D. Snider advises that Ti West's The House of the Devil "prefers slow-building tension over frequent bloodletting and mayhem," but when it does deliver on its promises, "Holy crap." (?!) Another title that seemingly sells itself, Midgets vs. Mascots turns out to be "an occasionally very funny but often very sloppy mockumentary that is far too eager to show us how taboo it is," according to The Snide.

You can review, bookmark, recommend, link to, chew over, and comment upon all of our coverage right here.

Twitter Talk. Just one concluding thought: "Tribeca winds down as the dividers at the AMC slowly get put away. The rain is God shedding a tear."

In a ceremony held last night, the Tribeca Film Festival announced this year's winners of its competition categories. The top prizes went to Iranian drama About Elly for Best Narrative Feature and audience fave Racing Dreams for Best Documentary Feature.

About Elly, written and directed by Asghar Farhadi, revolves around a group of "old college pals" who reunite for a weekend by the sea, a friendly outing that turns serious when one of the women disappears. The jury (Bradley Cooper, Richard Fischoff, Todd Haynes, Meg Ryan, and Uma Thurman) called the Iranian movie "a seamless piece of ensemble filmmaking." Racing Dreams, directed by Marshall Curry, follows three go-kart racers, ranging in age from 11 to 13, who are competing for a national champiomship that's considered "a huge stepping stone to auto racing's big show-NASCAR." The jury (Liz Garbus, Henry Louis Gates, Jr., Whoopi Goldberg, Morgan Spurlock, and Brian Williams) declared it to be "a completely compelling, entertaining film of incredible quality."

For his Norwegian comedy North, director Rune Denstad Langlo was recognized as Best New Narrative Filmmaker, while Ciarán Hinds (The Eclipse) and Zoe Kazan (The Exploding Girl) were honored as Best Actor and Best Actress, respectively. In the documentary arena, Ian Olds won the award as Best New Documentary Filmmaker for Fixer: The Taking of Ajmal Naqshbandi, which tells the story of an Afghan "fixer" (defined as "someone hired by foreign journalists to facilitate the gathering of news stories") and the "dangerous and unseen world of wartime news gathering." The recently-acquired Defamation received a Special Jury Mention.

The complete list of award winners is available at the official site. The festival continues through May 3. Check out all of our coverage right here.

After Manure quietly (and not-so-quietly) stunk up the scene at the Sundance Film Festival, the Polish Brothers (Mark and Michael) have returned to the festival circuit with Stay Cool -- a film that leaps into your lap with its perky, original concept, but then slowly but surely fails to deliver ... well, pretty much everything. What we have here is an on-the-verge-of-40 novelist (Mark Polish) who returns to his hometown only to find himself stuck in a really bad, cliched '80s movie -- complete with two bonehead best friends, mean teachers, a moronic high school principal and a hardcore crush on that girl whose meat-head boyfriend is named Brad. And I don't mean cliched '80s movie in a bad way -- that's kinda the point with Stay Cool; our lovable, somewhat-awkward novelist learns that he must overcome the fears and regrets he's had since graduating 20 years ago by living his worst moments all over again.

Some have said Stay Cool is like 17 Again in reverse, which it sorta is -- except there's no magical, supernatural element here. Our guy just somehow finds himself re-living those weird, painful high school moments (as an adult) until he finally comes to grips with his past and his present, and, of course, manages to stay cool.

One week into the Tribeca Film Festival (TFF) and the screenings keep humming along. It's probably a softer buzz than previous years; some attendees have even dared to take a night or two off to care for other, personal matters (like sleep) -- something you'd never hear about at Sundance, Cannes, or Toronto. Perhaps that's a consequence of the festival being held in such a costly city: very expensive for out-of-towners to cover, and locals can't get away from their personal lives the same as when they're traveling.

Scene. Steven Soderbergh's The Girlfriend Experience premiered on Tuesday evening (the post-screening party featured chocolate-covered bacon), and tonight Soderbergh and star Sasha Grey shared a panel to discuss the film. Eric Bana made an appearance in support of Love the Beast, a documentary he directed about his favorite car, and Zachary Quinto chatted with him at a party in the East Village. Matthew Broderick and Sarah Jessica Parker walked the red carpet for Joshua Goldin's Wonderful World, in which Broderick stars. Racing Dreams, currently leading the Audience Awards voting, is apparently not a Go-Kart movie, as we have previously described it. Sorry!

Our Coverage. Eric D. Snider reviewed Raymond De Felitta's City Island ("a merry comedy about one of those quarrelsome Italian-American families where everybody fights a lot but ultimately loves one another") and Conor McPherson's The Eclipse ("an unusual mixture of somber character drama and supernatural horror"). Erik Davis took a critical look at Which Way Home ("a riveting documentary that taps into the same concept and themes of Sin Nombre, except it's all real and it's all heartbreaking to watch") and gave us a glimpse of the TFF flasher and other "bumps." Check out all of our coverage right here.

Which Way Home and the recently-released Sin Nombre would make for an excellent double feature, as the former -- currently screening in the 2009 Tribeca Film Festival -- is a riveting documentary that taps into the same concept and themes of Sin Nombre, except it's all real and it's all heartbreaking to watch. Like Sin Nombre, Which Way Home follows the stories of several children attempting to illegally cross the Mexican border into the United States by way of riding on the tops of trains. But while Sin Nombre works in a fictional plot involving love, friendship and gang violence, Which Way Home covers the topic from several different (and fascinating) points of view. From the boys and girls riding the trains to the kids who've already been caught and are on their way back home, the film brings us everything we'd expect from a solid, well-made documentary -- injecting passion, honesty and heart into a topic that certainly needs more attention drawn to it.

Director Rebecca Cammisa attacks her subject from every conceivable angle; the most central (and noteworthy) being the risky life-threatening adventure of two best friends, Kevin and Fito. Both boys, barely teenagers, have set out from their small town on a quest to make it to America in the hopes that someone will adopt them, give them work (so they can send money home) and provide a better life. This is no small task, mind you, as a map early on shows us just how long (hundreds of miles) and tedious the journey really is -- with the boys needing to ride on the rooftops of cargo trains from one town to the next; each carrying a heavier police force as they inch closer to the border.

What's been happening at the Tribeca Film Festival the past couple of days?

Deals. Discussions are underway on several titles, according to The Hollywood Reporter. Distribution executives were spotted at Conor McPherson's drama The Eclipse, a title that jumped out at me when the lineup was first announced. The great Ciaran Hinds (Rome, Munich) stars in an "atmospheric drama about a widower who sees and hears strange things in his house." Aidan Quinn and Iben Hjejle (High Fidelity) also star. Other titles "in play" include Cheryl Hines' comedy Serious Midnight, written by the late Adrienne Shelly, starring Kristen Bell, Justin Long, and Meg Ryan; Jake Goldberger's drama Don McKay, starring Thomas Haden Church and Elisabeth Shue; and Marshall Curry's Racing Dreams, a documentary about Go-Kart racing.

Our Coverage. Kirby Dick's "engrossing, revelatory" doc Outrage makes its message clear, wrote Eric D. Snider: "If you're a politician who publicly oppresses the gay community while secretly belonging to it, Kirby Dick will kick your closet door down and tell the world what a hypocrite you are." Eric also reviewed the Academy Award-winning Japanese drama Departures, "a perfect Oscar choice, a fine film that's gently funny and moving and not the least bit challenging or controversial." You can view all our coverage by clicking this handy link.

Blog Talk. The aforementioned doc Racing Dreams "alienated and creeped ... out" Jeffrey Wells of Hollywood Elsewhere, who explained: "I trust I'm not the only urban-residing blue-state guy who despises the whole blue-collar NASCAR thing." I'm sure the feeling is mutual. Eric Kohn at The Wrap describes Off and Running, a doc by Nicole Opper, as "the fascinating story of an adopted African-American teen raised by lesbian Jewish parents in Brooklyn ... The combination of community forces behind its existence makes [it] the quintessential Tribeca product."

So you're nowhere near New York City right now, but you'd still like to taste a little of what the 2009 Tribeca Film Festival is serving up this year, am I right? Good news for you is the YouTube Screening Room is currently hosting four different short films screening at Tribeca this week, and you can watch them for free, in their entirety, right ... now.

We've posted one of the short films below; it's called Cutlass and it was directed by actress Kate Hudson as part of that ongoing series from Glamour. Starring Virginia Madsen, Kurt Russell, Kristen Stewart, Chevy Chase and Sarah Roemer, Cutlass follows a woman (Madsen) who, after getting into an argument with her daughter (Fanning), takes a trip down memory lane back to when she was a teenager who desperately wanted a hot new 1979 Oldsmobile Cutlass. Loving Kurt Russell, and Stewart, as the younger version of Madsen, shows a lot of emotion (which is something we rarely see out of her). Not sure I understand the overall message here, but it's not too bad; Hudson keeps it fairly simple, cute and nostalgic for her directorial debut. Check it out below and let us know what you think.



The three other shorts -- Section 44, Wu and The Confession -- can be watched over at the YouTube Screening Room. The Tribeca Film Festival runs through May 3; check out more of our coverage over here.

One thing about the Academy Awards' Best Foreign Language category that separates it from the acting, screenplay, director, and best picture categories is that in order to vote, Academy members must prove that they have actually seen all five nominees. In a way, this is good: it means there's less politicking and favoritism and more sincere praise for the film that voters actually believe is best. But on the other hand, the Academy members who have time to go to special screenings of the five nominees are liable to be the old, retired ones, and their tastes might not accurately reflect those of the Academy in general.

All of this was relevant this year, when a Japanese film no one had ever heard of, called Departures, won the Oscar when all the forecasts had been for either The Class or Waltz with Bashir (which, not coincidentally, were the only two nominees that had played in the U.S. at that point). The Academy voters had seen all five films. Had they, in their wisdom, chosen the film that truly was best?

The answer is: eh, maybe. Now that Departures is making the festival rounds in advance of its stateside release in May, we're able to see why it appealed to the voters. As it turns out, it's a perfect Oscar choice, a fine film that's gently funny and moving and not the least bit challenging or controversial. It tells its story with elegant simplicity and is aimed at neither the lowest common denominator nor the highbrow art-house crowd. Pleasantly in the middle is where it sits, and it's happy to be there.