What has always impressed me with actors is not when they take on a challenging role, but when they can put their entire personal life aside for their work, whether that be playing the loved one of a foe, finishing up a film just after a traumatic tragedy (like Liam Neeson finishing Chloe), or getting romcomish with an ex. That last one is just what Drew Barrymore is going to do, according to The Hollywood Reporter.

Barrymore has signed on to star with ex-beau Justin Long in New Line's latest romcom, Going the Distance. American Teen helmer Nanette Burstein is directing newcomer Geoff LaTulippe's script, which follows the challenges of a long-distance relationship; Barrymore will play a woman who moves to Chicago to be a middle-school teacher, and Long will play a script reader -- one, I presume, who resides wherever the woman is moving from.

It's a bit of a gift to Drew -- after she brought Long to He's Just Not That Into You, he brought her attention to this project. The pair have obviously come out of their relationship as friends, what with all the gig-sharing, but revisiting romance -- that's an entirely separate matter. How do you tap into feelings of love and attraction with your ex without stirring up the past? Or maybe this is just the precursor to Drew and Justin, 2.0.

With all due respect to my esteemed colleague Elisabeth Rappe, geeks are not the only ones who learned important lessons from watching movies this summer. Herewith is my personal, arthouse summer school summary.

Werner Herzog cast a disapproving eye on the ugliness he discovered at Antarctica's McMurdo Station ("they even have a yoga studio and an ATM!") and was skeptical about the sanity of some of the real-life characters he met, which is partly why Encounters at the End of the World was so entrancing. What I learned: Evidence for gay penguins is skimpy, but they have been known to have threesomes.

The Wackness (pictured) didn't became the breakout hit that some had hoped for, but it did showcase the talents of rising star Olivia Thirlby and director Jonathan Levine. What I learned: Never kiss Ben Kingsley in a telephone booth.

Nanette Burstein's filmmaking techniques were much more off-putting than her ultimately winning subjects in American Teen, another would-be smash that didn't live up to box office expectations. What I learned: Never break up with your girlfriend via text message, especially when a documentary filmmaker is interviewing her.

Unexpectedly, Tell No One became the breakout limited-release mystery thrill ride of the summer, and Man on Wire proved that impassioned high wire walkers can make dreams come true and enthrall audiences to boot. What I learned: It's good to be French.

Now it's your turn, all you indie-loving, doc-devoted, world cinema aficionados: what did you learn from the movies this summer?

It wasn't that long ago that documentaries carried the stigma of being educational first and entertaining second. As with foreign-language fare, an audience for them lingered on the fringe, and an industry was willing to offer them their very own awards, but they really weren't terribly high-profile box-office prospects... that is, until the '04-'05 summer successes of Fahrenheit 9/11 and March of the Penguins made it seem perfectly okay for audiences to see, and for studios to market, a film without so much as one measly explosion in it.

But then along comes American Teen: a film openly marketed as - and arugably assembled to be - anything but a documentary that finds itself underperforming in its current limited runs (it goes wide this Friday). Last May, I witnessed a group of young women leaving whatever indie they caught at Washington D.C's Landmark E Street Cinema as they approached the film's poster and wondered aloud if someone was remaking The Breakfast Club, with a tone that suggested neither horror nor concern, nor any great interest in the big, fat what-if scenario placed before them.

What I wonder now is, at what point did we begin to craft documentary filmmaking specifically to the masses, and then what happens when the masses simply don't show?

By: James Rocchi

(With American Teen opening nationwide this week, we at Cinematical are re-running our Sundance 2008 interview with director Nanette Burstein.)

One of the biggest word-of-mouth buzz hits of the 2008 Sundance Film Festival, Nanette Burstein's American Teen follows a handful of high school students in Indiana for 10 months; the resulting documentary somehow has the look and feel of a Hollywood-manufactured piece of teen fiction, with stylish and surreal animated sequences -- and still offers a touching, bold, you-are-there window into the state of adolescence in America. Paramount Vantage purchased the documentary's rights only a few days ago, but when the director met Cinematical, it looked as if her schedule hadn't gotten any less harried. Asked if she has a future project in mind, Burstein laughs ruefully: "The next thing I'd like to do is sleep for a really long time." Burstein spoke with Cinematical about how she came to be in Indiana, the media-savvy minds of today's kids, the sequences she had to lose from her original "8 hour cut," and much more.


This interview, like all of Cinematical's podcast offerings, is now available through iTunes; if you'd like, you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:

(With American Teen opening in theaters today, we at Cinematical are re-running our review from Sundance.)

Nanette Burstein's documentary American Teen opens not far from John Hughes country, both geographically and artistically: we're introduced, in quick order, to four students at the high school in Warsaw, Indiana, on the first day of class. But while the camera work and voice-over has the glossy fizz of fiction, it's nonetheless a real school, and while the kids we meet all correlate roughly to the archetypal teens of fiction, they're real too. We meet Hannah, the plucky, artsy outsider; Colin, the star athlete with a heart of gold; Megan, the prom queen whose school-spirit high-fives hide an iron fist; and smart, insecure, dorky Jake, all in quick succession. And while part of your mind reels at the clichés -- we're just one Judd Nelson-type away from a straight flush, for heaven's sake -- as Burstein's film unfolds, we realize that if there ever was a place cliché's were true, it's high school.

It's been a tough year for documentaries at the box office. How do you market a critically-acclaimed film about five Indiana high school teens that just happens to be a doc?

The film is American Teen, and the hurrahs began at Sundance this year. James Rocchi described it as "an engaging, stylish and surprisingly smart piece of non-fiction entertainment." Paramount Vantage acquired distribution rights and then released a poster a couple of months later that intentionally reminded everyone of John Hughes' The Breakfast Club (note poster on the left, above).

The company changed tactics somewhat with their campaign inviting people to become "fans" of the real-life characters in the movie. You can see more about this at the film's official site. Filmmaker A. J. Schnack questioned the wisdom of selling documentary subjects as marketable commodities. A new poster took a different approach (see above, right), though the trailer is still selling the nostalgia element.

In the Los Angeles Times, Mark Olsen examines the marketing challenge in detail. Among other things, he quotes director Nanette Burstein as not wanting the Breakfast Club poster as anything more than a teaser. But Paramount Vantage exec Megan Colligan claims they are not "trying to hide the fact that it's a documentary ... One of the challenges of this movie is making people feel like this is a cinematic experience that will feel to them like a great teen comedy." American Teen opens in limited engagements on Friday, July 25.

Do you plan on seeing American Teen?

Last night I had the pleasure of attending the opening night premiere of American Teen (in theaters July 25) as part of the third annual Sundance Institute at BAM (Brooklyn Academy of Music). The Sundance fav launched an eleven-day festival of sorts, showcasing the best of the best from this year's Sundance Film Festival; 22 features and 36 shorts in total, plus filmmaker Q&As, parties, art installations and tons of Brooklyn hipster-watching.

The screening itself was completely sold out and held inside the gorgeous BAM Howard Gilman Opera House, where, conveniently, free popcorn and bottles of water were handed out at the door. And as my wife pointed out after we sat down: "They're smart -- free things always put a person in a good mood before a film." Indeed! Before the curtain rose on American Teen, a number of folks approached the mic for some words, while the crowd cheered every time 'Brooklyn' was used in a sentence. The speakers included BAM President Karen Hopkins, Sundance executive director Ken Brecher, Brooklyn Borough President (and an awesome guy) Marty Markowitz, Katherine Oliver, Commissioner of the NYC Mayor's Office of Film, Theatre & Broadcasting, BAM Cinema Club Chairs Maggie Gyllenhaal and Peter Sarsgaard, and, finally, American Teen director Nanette Burstein (sporting a very pregnant belly) and one of the film's teenage stars, Hannah Bailey (pictured above).

Check out a gallery from the premiere, the film and the prom-themed after party below -- then head after the jump for my thoughts on American Teen. (All pictures courtesy of the fine folks at the Sundance Institute and Paramount Vantage.)

The Sundance deals flew fast, furious and early on Tuesday, but it took a bit longer for one in-demand title to close.

American Teen has been hotly pursued since its first press and industry screening on Friday night. Nanette Burstein's documentary about four teenagers in their senior year of high school has been compared to everything from The Real World to Laguna Beach to The Hills. Hmm, wait a minute ... aren't those all reality shows on MTV? I think I'm smelling a theme. Yeesh!.

Anne Thompson of Variety initially reported mid-day Tuesday that Sony Pictures Classics had nabbed US rights for $1 million, but quickly amended the story as negotiations dragged on. When the dust cleared, Paramount Vantage was the victor, according to Ms. Thompson, paying $2.5 million * late Tuesday night to acquire world rights, excluding the UK. The price sounds high in a down market for docs, but the subject matter could give American Teen legs.

Filmmaker Burstein previously co-directed On the Ropes (Sundance 1999; about young boxers) and The Kid Stays in the Picture (Sundance 2002; about producer Robert Evans) with Brett Morgen, who made last year's Sundance opener, Chicago 10. Her current production is the result of 10 months of daily filming in one small town in Indiana. I hope the teens depicted in the film are ready for the increased exposure.

* UPDATE (5:24 PM): Ms. Thompson updated her blog post at some point after we posted this story; the sales price is now shown as $1 million.