We welcome our biggest guest ever as we welcome Australian actor/director Joel Edgerton to the show to talk about his new psychological thriller and directorial debut, The Gift. Bernard is also joined by Dustin and Eli to talk about actors-turned-directors and share their Indie Picks of the Week. Plus, Bernard talks about how Edgerton creeped the hell out of his wife. All that and more on this week’s Way Too Indiecast!

This episode is sponsored by MUBI, an curated online cinema that brings its members a hand-picked selection of the best indie, foreign, and classic films. Try it for 30 days FREE by visiting www.mubi.com/waytooindie.

Topics

• Indie Picks of the Week (1:41)
• Actors-Turned-Directors (9:26)
• The Gift Review (29:15)
• Joel Edgerton Interview (34:45)

WTI Articles Referenced in the Podcast

Creep review
Tyrannosaur review
Unbroken review
Submarine review

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Netflix has become the standard bearer for original content from a streaming service—not only in terms of their ever-growing catalog of traditional television series, but soon with original films from major stars and top indie directors. Amazon Prime may be well behind, even with hits like Transparent and Catastrophe, but they are looking to take a step in the original movie biz before they get too far behind. It was announced this week that Amazon Studios has purchased its first film to distribute, the upcoming Spike Lee look at inner-city violence Chiraq. In their exclusive, The Hollywood Reporter noted that the film will first receive a coveted December theatrical release with hopes of Oscar before being made available “relatively quickly to Amazon Prime customers” to stream. Piggybacking on last week’s streaming news on Paramount’s plans to release films more quickly to VOD, this is more evidence of the industry becoming more aware of and open to the benefits of streaming and more big-time projects are sure to follow. Before all of your favorite directors sign exclusive rights to stream their newest films, check below to see new titles that you can watch from home this weekend.

Netflix

Tig (Kristina Goolsby & Ashley York, 2015)

One underplayed but very important segment of Netflix’s original content plan are stand-up comedy concert films. If you are a comedy buff, there is a near-endless selection of specials to view from the very best in the business—Louis C.K., Kevin Hart, John Hodgman, Aziz Ansari and Mike Birbiglia all have a home on Netflix and the service seems to add more and more every week. Though not solely a stand-up special, the newest Netflix original documentary is a look into the life and work of one of the best alt comics of this generation, Tig Notaro. Tig picks up with its very funny subject days after she has been diagnosed with cancer, making it much more than a typical comedian profile. Notaro’s unique comedic voice and personality is really enough to sustain the film, but the added perspective gained through her tough situation will give her fans a deeper connection. Read our review of Tig.

Other titles new to Netflix this week:
Bojack Horseman (Season 2)
Creep (Patrick Brice, 2014)
Da Sweet Blood of Jesus (Spike Lee, 2014)
Goodbye to All That (Angus MacLachlan, 2014)
These Final Hours (Zak Hilditch, 2013)

Fandor

The Spirit of the Beehive (Víctor Erice, 1973)

One of the most imaginative films ever made, Victor Erice’s The Spirit of the Beehive showcases the power of cinema when a young girl in rural Spain sees James Whales’s Frankenstein. Young Ana is so transfixed and curious about the experience that she escapes into a fantasy world where she can leave her brutally turbulent life behind. If you love Pan’s Labyrinth, this film is a must watch, as it heavily inspired del Toro. As part of Fandor’s “Criterion Picks,” The Spirit of the Beehive is only available to stream for a limited time. Also new to Fandor is their next Spotlight series—“Game Changers,” a collection of thrilling sports documentaries and dramas. Films in the series include Hoop Dreams, Harvard Beats Yale 29-29, Fake It So Real, Headin’ Home: a biopic of Babe Ruth starring Babe Ruth as himself, and Boxing Cats: a short actuality film from the silent era where someone put tiny boxing gloves on house cats and staged a championship bout. That last one is worth the subscription cost alone.

Other titles new to Fandor this week:
Being Two Isn’t Easy (Kon Ichikawa, 1962)
Mouchette (Robert Bresson, 1967)
The Unstable Object (Daniel Eisenberg, 2011)
Warrendale (Allan King, 1967)
Where Is My Friend’s House? (Abbas Kiarostami, 1987)

MUBI

The Turin Horse (Béla Tarr & Ágnes Hranitzky, 2011)

If you have two and a half hours free, you do spend it in many worse ways than watching Béla Tarr’s minimalist masterpiece. Tarr has built his reputation on snail-paced but powerful films, with The Turin Horse one of his most striking. The film has a very interesting philosophical supposition—jumping off of a story that Friedrich Nietzsche sees a carriage driver whipping his horse, then puts his arms around the horse to protect it from the beating. Immediately after, Nietzsche would be diagnosed with mental illness and never speak again for the rest of his life. The punchline to the tale is “We do not know what happened to the horse.” The Turin Horse tells the following story of the horse, farmer and his daughter in the sometime-serene, sometime-brutal Polish landscape. Much of what we see are daily routines of their lives (the unnamed daughter peeling potatoes is a particular recurring scene), and ultimately becomes a mesmerizing showcase of editing, cinematography, set production and patience.

Other titles new to MUBI this week:
Aelita: Queen of Mars (Yakov Protazanov, 1924)
Marley (Kevin Macdonald, 2012)
The Past Is a Grotesque Animal (Jason Miller, 2014)
Quadrophenia (Franc Roddam, 1979)
Syndromes and a Century (Apichatpong Weerasethakul, 2006)

VOD & Digital HD

Far from the Madding Crowd (Thomas Vinterberg, 2015)

Vinterberg’s follow up to the stunning and suffocating The Hunt is the equally stunning, but much more easy-going adaptation of the popular Thomas Hardy novel Far from the Madding Crowd. The film stars the always dependable Carey Mulligan as an fiercely independent woman who inherits a large farm and attracts three very different suitors—the most dreamy (editorializing) being Matthias Schoenaerts (Rust and Bone, Bullhead) as Gabriel Oak, a farm hand with a shared history. It might be a peculiar change in direction for the Danish filmmaker, but Vinterberg brings in a sure hand and naturalistic perspective to what could be just another boring British romance novel adaptation. With lush cinematography and a very talented cast, rounded out by Michael Sheen and Tom Sturridge, it will likely stand as one of the most emotionally searing, gorgeous films of the year. If you don’t live close enough to an arthouse cinema where it would have played during its limited theatrical release, it’s now available to rent or buy on iTunes.

Other titles new to VOD this week:
Clouds of Sils Maria (Olivier Assayas, 2014)
Dior and I (Frédéric Tcheng, 2014)
Ex Machina (Alex Garland, 2015)
It Follows (David Robert Mitchell, 2014)
The Salt of the Earth (Juliano Ribeiro Salgado & Wim Wenders, 2014)

Patrick Brice’s titillating new comedy The Overnight comes with a fair share of notable names attached to the project. The film is executive produced by indie darling Mark Duplass, it’s the first feature released by Adam Scott and his wife’s production company’s Gettin’ Rad Productions, and it stars Jason Schwartzman as well as Orange Is The New Black‘s Taylor Schilling. Brice’s film explores a hilarious situation involving a pair of parents to young children arranging an “overnight family playdate” at their home that turns into a sexual exploration; however, The Overnight is only the second narrative piece made by the filmmaker.

Sitting down with Way Too Indie, Patrick Brice discusses his senior thesis documentary on Paris’ last 35MM porn theater, producing his first feature Creep with only Mark Duplass and a camera, as well as the transition into working with a full crew for The Overnight.

Are these premieres exciting for you?
Yeah, they’re very exciting.

It’s good to see it with a crowd?
Oh yeah, it’s the best. When I first wanted to become a filmmaker I never thought I’d make movies where it would be contingent on crowd noise and crowd reaction. I go see my friends’ films that are dramas, and you don’t hear anything at all throughout the movie, so it’s fun to watch this movie with an audience for sure.

Did you want to be a more serious filmmaker? Not to disparage this film.
Yeah, yeah. You mean, make movies with a more serious subject matter?

Just making movies that are more dramatic.
It’s funny. I’m not interested in one particular genre. Both movies I’ve made have been these kind of genre hybrids. That’s just a result of me navigating these stories and deciding what feels right in any given moment. Whether it’s a darker moment or something that’s lighter.

So I was going to ask what it’s like directing prosthetic penises.
[laughs] It’s the best! I mean, it’s hard to do. Everyone is giggling the whole time so it’s this ridiculous, fun—it doesn’t feel like work basically. At all.

I can imagine the diving underwater being hysterical on set, a little tricky to give direction for, but it’s a really funny moment.
For sure. And we couldn’t keep them in the water for that long. They’re made of this sponge-like material, so they actually absorb water. Jason’s was… [Patrick makes hand motions].

It expands more?
Yeah [laughs], it was a bad thing.

What was the initial inspiration for The Overnight?
Mark Duplass and I had worked together on this film Creep, and we were just trying to think of another small project to work on together, he said he would produce a script if I wrote it and I was thinking a lot about what I can do with a small amount of money essentially. An idea of having the film set in one house, and having only four actors. Then reverse engineering it from there in terms of how do you make a single-location space dynamic? I had made a documentary when I graduated from Cal Arts, and my thesis film was about the last porn theater in Paris that still plays 35MM film. So sex has kind of been on the mind for sure.

I was thinking about movies like Who’s Afraid of Virginia Woolf? and After Hours and these movies that take place in 24 hours, so [I] ultimately decided it would be this film about this foursome. Then it was once again reverse engineering it from there and thinking about how I can create a situation where it’s actually believable that these characters would get to the point that they do.

Do you get excited by that reverse engineering process?
Well it’s all I’ve known so far. I’ve only known working within constraints because I’ve only had a certain amount of money for each of my projects. For Creep we had basically no money because we had no crew. The whole movie was just me, Mark and a video camera.

So then with this movie I knew I was going to have a small amount of crew, and even just having the people around me that I did felt like a luxury because I had this other experience where I had no one. It’s been a great way to ease myself into making stuff, because I recognize each new tool that comes in and find that I’m able to use it consciously more. Actually having a relation with your gaffer, you know? I don’t know if that’s a result of the way that things have gone so far or that’s just my weird way of working but that’s the way it’s gone.

What kind of benefit do you get from having Mark Duplass on as a producer?
I wouldn’t have been able to get all these actors if it weren’t for him, and if it weren’t for his reputation. He was kind of like a godfather figure of this show. We knew that Adam & Naomi had started Gettin’ Rad Productions, their production company, and that Naomi was wanting to produce features. So it was really great bringing those guys in because we kind of had this package of this amazing actor with Adam, and then Naomi who’s one of the best professional relationships I’ve had in my life. She’s just an amazing producer.

It’s been a great relationship working with Mark because he’s not only been someone who’s sort of helped guide me through this world, but he’s also someone who appreciates my sense of humor. To have someone who not only is kind of your boss but also gets you and appreciates you, that’s priceless.

How’d you first end up developing a relationship with Mark?
We have mutual friends. I’m good friends with Adele Romanski, she’s a producer. She produced The Myth of the American Sleepover and a couple other movies. She produced Mark’s wife’s two films The Freebie and Black Rock so it was just through moving to Los Angeles and meeting them. I was still in school, I was in Cal Arts when I met Mark. We had just met for coffee a couple times, you know. Kind of discussing—there are just so many ways your career path can go in terms of film, so it was an organic relationship.

Like you said, you’re expanding the scope in terms of this production. Were there any obstacles to incorporating all these new elements as a filmmaker?
I don’t think I ever felt obstacles with it. I’m a pretty open guy. I’m fairly egoless, so I would go to each new person that I’d be working with that I hadn’t worked with. I hadn’t even made a short before, I had primarily done documentary stuff, and then I made this odd found footage hybrid experiment thing with Mark. For me it was a chance to really understand all of these roles and just try to elevate everyone in their own way. I never pretended to know something I didn’t know. I was with enough people who had enough experience that when there were moments when I felt like I wasn’t the authority, they would step in. I see the role of the director as guiding the energy of a shoot. Obviously I wanted to protect and guide the story for sure. Because I had such smart, conscious collaborators that’s why I was able to make this movie in the way that we did.

How structured was your script?
This was a full, detailed — it was totally scripted.

So it’s not like some of the highly improvised Duplass-produced movies?
No, I had done that. Creep was totally improvised, that was just a 10-page outline, but The Overnight had a full script. Which was great to have that as our sort of anchor, and then people ask if there’s improv in the movie, and there is, but it’s almost peppered within the lines. It was really just trying to create an environment where the actors felt free. Free to play, but we already had a nice guide there for us.

Does that mean like fun run type of stuff, or loose last takes?
We did that a couple times but for the most part it was just someone would say a line in the middle of another line that worked, or there was a reaction that was unexpected or something like that. Going into this we wanted to play it real as much as possible, so we wanted it to feel as natural as possible. I think with some actors that might be kind of scary to say you can play. A lot of people need that sort of structure, but these guys were game.

What’s the next step for you? The film comes out in June, so are you doing mostly press or have you started a new project?
Yeah, I’m writing right now. I’m writing the next project but in between that, the next two months are going to be really crazy. We’re playing a bunch of different film festival: San Francisco, Seattle, Chicago Critics Festival. Then we’re going to be doing New York and L.A. premieres for the movie so it’s going to be a lot of distraction from writing. I’m looking forward to getting back into the “putting on sweatpants and taking my dog on a walk.”

You prefer that aspect?
Yeah, for sure. But this is fun, too, obviously.

When a film has the name Mark Duplass attached to it, the film typically contains an in-depth look on human behavior with an empathic, yet slightly offbeat voice. Ergo, my interest is peaked whenever Duplass is involved with a project. In his latest role, he uncharacteristically plays the part of the anti-hero who generates screams as well as laughs in the comedy/horror/thriller film Creep.

After the world premiere of Creep at SXSW, I met up with director Patrick Brice and star Mark Duplass to talk about their latest film. In this panel interview, the two describe what makes a good found footage film, what they discovered while showing the film, and how the official still from the film was an accident.

How did you guys come up with the original idea?
Mark Duplass: It was a series of conversations, we’re close friends. We wanted to work together and we wanted to find something that we could perform in together. I think we are obsessed with how interesting people can be. We are people watchers. Most of our conversations gravitate towards these intricate details of human behavior and human interactions that we find funny or weird or interesting.

Once we came up with this idea of, you walk into someone’s home on a Craigslist encounter without knowing anything about them, it can lead to things that are maybe a little funny, maybe a little weird, and depending on which turn it takes, could get kind of fucking crazy. So we decided to explore that wormhole.

I remember seeing the first poster with Peachfuzz [as the title], when and why did you decide to change the title to Creep?
Duplass: Throughout the process, we showed the movie to a lot of people and discovered something really interesting. Which is that when you are making a movie that’s about very small human interactions, you want people’s brains focused on that. When we told people it was called Peachfuzz, they were trying to figure out for a while why it was called Peachfuzz. But when you tell people that the movie is called Creep, they know what they are going into, they know what they are looking for and their brain is focused solely on our faces. And the movie played intensely better.

Speaking of reactions, I found it particularly rewarding watching the film with an audience. Some would be laughing while others would be gasping. Did you expect to get such mixed reactions from the audience?
Patrick Brice: We anticipated it for sure. That’s been the reaction all the way through whenever we’ve shown this to friends. That was our primary hope. So last night was super validating.

Duplass: It’s a nice conversation piece. In particular, last night when we were walking out of theater there was a couple outside literally arguing with each other. Kind of angry with each other about one of them had laughed and the other had screamed in that moment. She was just like shocked that he could find it funny and he was shocked that had thought that it was scary. And I was like that is great, that’s a successful screening for us.

Mark, this isn’t your first comedy/horror type film that you’ve been apart of, was there anything you brought to Creep from making Baghead?
Duplass: This was a very unique film in that we [had] a pretty small crew and we shot a lot of the film off of an outline. Then we would edit, show it to people, then we would come back and reshoot. We shot this movie over the course of a year and a half. I have never done a movie like that before, so we were definitely in uncharted territory.

In terms of the tonal complexity of it, we started the movie off as an odd Craigslist encounter and wanted to see where it would go. The footage and the nature of the movie was begging us to go in the realm of something more thriller or horror oriented. We couldn’t stop it.

Brice: And it was a chance for you to explore the darkness a little bit.

Duplass: Yeah. I haven’t done that as much so it was fun.

With such a loose script organic shooting process, were there any major happy accidents that happened?
Duplass: [thinks about it a moment] Patrick was very thoughtful about where the cameras should be at all times and how to justify it. So in terms of the blocking of things, that stuff was pretty tightly executed.

That being said, there was some set pieces that we stumbled upon that we were like ‘Oh, this is very, very cool. We should shoot it this way.’ I think there was a moment where I play a little bit in silhouette, that we didn’t like…

Brice: The still from the film.

Yeah, the one where he is at the top of the staircase with the light.
Brice: Yeah, Mark is literally walking up the stairs and…

Duplass: Patrick is like, “Don’t move! Get back in here and we’re going to redo it.” [laughs] Every now and then you get some things [like that].

From start to finish it seems like you guys had a lot of fun with the project, but were there any sections or particular scenes that were especially difficult?
Duplass: There was stuff that we had to dial in [to make sure that] while this is a “POV” or “found footage” movie, that we could make [it] creditable. So we wanted to make sure that we kept our eyes and attention [to that]. Patrick did a real good job of make sure it was justified why we were seeing it from this perspective. We had to always think about that. It’s not always the most fun thing. That’s homework.

You worked with Jason Blum on this project, how involved was he?
Duplass: We made this film and then brought it to Jason. We knew that the partnership between what we do, which is more relationship oriented, and what he does, which is more horror oriented, would be something cool. To be quite honest, we love the idea that even the nature of the partnership of the Duplass Brothers and Blumhouse, asks the question, how the fuck is that going to work? [laughs] That to us is the exact question we want people asking when they walk in the theatre.

Yeah. Seemed like there was a lot of attention brought to when to insert certain jump scares at certain intervals. Was that something that you borrowed from them?
Brice: Oh, for sure.

Duplass: Yeah. We thought about it through the way and we wanted this movie to be odd and unique and interesting. But [we] also want horror fans to know that [they] can come see this and you’ll see something different, but we’ll also give you what you are looking for.

You’ve stated before that you are both not big fans of the found footage genre, what is it that you don’t care for and how did you go about addressing it in Creep?
Duplass: That’s tricky. Our feeling is that a lot of people go to make found footage because they feel like it’s an easy way to make a movie and a cheap way to make a movie. So most of the things we don’t like are the people who are just trying to make a found footage movie [for that reason]. Usually their story has a lot of holes in it and the performances are not what they could be because they are approaching it from the wrong reasons. Those are the things we don’t like–an overused and overexploited genre.

So what we feel like we have to offer is that we’re relationship people. We make sensitive movies. So we thought we could at least get the story right and get the performances right. Then we almost backed into it being a horror movie because the nature of it got really, really strange when we got to shooting.

So it wasn’t like you wanted to do a found footage film and then built something off of that.
Brice: Right. We started with the characters and getting you to care about them. Then hopefully the viewer is going to forget they are watching a found footage film.

Yeah. I certainly did at times.
Duplass: Yeah. There is nothing inherently wrong with the form. It’s just a form. It’s just how you use it.

There are really good ones. But for every good one there is about a hundred bad ones.

[everyone laughs]

Duplass: A hundred thousand! [laughs]

So you guys cited that your editor [Chris Donlon] was a big part of the process, could you explain the importance of him?
Duplass: He was the third filmmaker really. He was with us every step of the way and one of Patrick’s oldest friends. We are all very close. He not only edited the whole film and helped us produce it, and it’s hard to explain, but Patrick and I are verbal and vocal and we move quickly, and Chris is quiet and sweet.

If you examine 4 hours in a process, 3 hours and 57 minutes of that are Patrick and I talking, and then the 3 minutes of that are Chris being quiet and asking, “What if you do this?”

Brice: [laughs]

Duplass: And then we are like, “Yes! We got it!”

She’s Lost Control

As a surrogate partner therapist, its Ronah’s (Brooke Bloom) job to try to heal people of their sexual intimacy issues through various sessions and stages of erotic contact (think Helen Hunt in The Sessions). While at work she is seems to have all the answers on how to be intimate with a smile on her face, yet her home life reveals nothing but the opposite. She can barely crack a smile and has no one she can share herself with. It becomes increasingly apparent that Ronah doesn’t practice what she preaches she informs one of her clients how important it is to move on, yet she forms a personal relationship with him and is unable to let go.

She’s Lost Control is a quiet and slow moving film about the difficulties of separating emotions from sex. Though the film does bring up an interesting topic, it fails to explore it beyond just the surface. Also, the title is a bit of a stretch as her life never seemed to be in control. Temporarily bringing life to the picture is a brutal scene near the end that generated a collective gasp from the crowd in an otherwise mostly stagnant film.

RATING: 6.3

The Heart Machine

John Gallagher Jr. is an actor who needs no introduction here in Austin after starring in the cherished film Short Term 12 last year at SXSW. In The Heart Machine he stars as Cody, a New Yorker who is currently in a long distance online relationship with Virginia (Kate Lyn Sheil). The two have never met in person and because she’s thousands of miles away living in Berlin, they utilize services such as Skype and Facebook to interact with each other.

Everything is going swimmingly until Cody notices that the background sound of an ambulance siren on her end sounds an awful lot like an American one (apparently this is common knowledge). Soon he begins to question if she really is in another country as she claims. His suspicion starts off moderately legitimate but quickly escalates into complete obsession.

Watching Cody use his makeshift detective skills makes The Heart Machine an exhilarating ride as he gets closer and closer to discovering the truth about her real location. But it was Andy Warhol who said, “The idea of waiting for something makes it more exciting,” which is especially the case here as the final reveal is much less stimulating than the events leading up to it.

RATING: 7.2

Creep

Even though it was 9:00 p.m. it certainly felt like midnight at the Stateside Theatre tonight in Austin. That’s because this offbeat film from Patrick Brice has fun mixing comedy with horror that caters perfectly to a rowdy midnight movie audience. Though Creep’s effectiveness will be limited when played to a slightly broader audience.

Creep starts off as a typical found footage horror film when a man named Aaron (played by director Patrick Brice) decides to document his travels up to a remote cabin in the mountains to meet a mysterious man named Josef (Mark Duplass). But the film is far from typical. True to the title, Duplass’ character is downright creepy, often blurring the line between sincere and sinister. Each jump scare Duplass conjures up is followed up by some ridiculous stunt that generates laughter. Not all of the jokes landed, nor were all of the scares successful. But never in my life did I expect to be so haunted by the sight of Duplass.

RATING: 6.9

After last year’s surprise breakout film Short Term 12, many people are wondering if the SXSW Film Festival will premiere another indie sensation. Only time will tell if lightning will strike twice in Austin, but at the very least the festival’s reputation is at an all-time high. With a hefty lineup of 133 feature films, there are plenty of independent films to choose from, but I managed to narrow down ten of my most anticipated films at the 2014 SXSW Film festival.

I will be attending SXSW this year for Way Too Indie, so make sure to check back for coverage and follow us on Twitter for instant updates.

Creep

I am not ashamed to admit that the main reason Creep landed on this list is because Mark Duplass is listed as a co-writer and lead actor. And then I read the wacky synopsis for the film–a man strapped for cash comes across a Craigslist ad for a $1,000 one-day job in a remote mountain town, but then discovers that the client may not be who he says he is. Adding to the overall intrigue, Creep supposedly fits into the genres of comedy, horror, and romance; a curious mixture that I cannot wait to witness.

Frank

Despite receiving a mixed response from its premiere at Sundance, Frank remains a must-see for me at the festival. This oddball comedy features Michael Fassbender as the mysterious musical genius who spends the majority of the film wearing a gigantic plastic head. The satirical tone of the film looks to be only outmatched by its absurdity, making it easy to understand why audiences are so divided on Frank.

Open Windows

Open Windows is Spanish filmmaker Nacho Vigalondo’s third feature film and the first of which to be in the English-language. This is a real-time suspense thriller about a man’s desperate search to track down his abducted girlfriend. Open Windows is said to be heavily influenced by ‘70s paranoid thrillers and is shown through the point of view of a screen on a laptop computer. I am excited to see what the filmmaker has up his sleeve, considering his history of making high-concept sci-fi thrillers (Timecrimes and Extraterrestrial).

Boyhood

Richard Linklater’s coming of age drama, Boyhood, received the Best Director award a couple weeks ago at the Berlin Film Festival. This ambitious project follows a family over the course of 12 actual years, which allows the audience to observe the cast members mature as they would in real life. Although Boyhood is not a documentary like Michael Apted’s Up series, Linklater experiments with a similar concept and the results could be quite intriguing.

Animals

In his first full-length feature, Collin Schiffli’s Animals tells the story of a troubled young couple who live out of their car and rely on stealing in order to survive. The reality of their situation is realized when one of them gets hospitalized. The film stars David Dastmalchian (Prisoners, The Dark Knight) and Kim Shaw (The Good Wife) and has one of the founding members of Passion Pit (Ian Hultquist) as the composer for the original score.

The Heart Machine

After combing through the entire festival lineup (a daunting task), The Heart Machine caught my eye for a few reasons. The primary reason is that the film stars John Gallagher Jr., who was the talk of the town in Austin after starring in last year’s Short Term 12. Another attention-grabbing credit is the director Zachary Wigon, a current film critic for The Village Voice. Lastly, the idea behind the film is fascinating–a man in a long-distance relationship begins to suspect his girlfriend to actually be living in the same city as him all along.

Joe

There are many reasons why the film Mud comes to mind when looking at David Gordon Green’s Joe. Not only are both films named after the three-letter name of their main character, but both films also star Tye Sheridan as a young kid who forms an unlikely bond with said characters. This indie film might just be what Nicholas Cage’s career needs at this point in order for people to start respecting him as an actor again.

Oculus

Our very own C.J. Prince caught Oculus last year at the Toronto International Film Festival and praised the film for its originality and well-written screenplay. Mike Flanagan’s Oculus will screen in the Midnighters section of SXSW, a program that features various hair-raising horror films to a midnight crowd. The film centers on an antique mirror called the Lasser Glass, which forces its owners to harm themselves as well as others. There is a good chance that audiences in Austin are going to be freaked out by the film, I surely hope I am as well.

The Guest

Another film I want to see from the Midnighters program is Adam Wingard’s The Guest. Similar to his recent work in You’re Next, Wingard seems to mix together equal parts humor and horror in this throwback thriller. The Guest received unanimously positive responses from the midnight crowd during its world premiere at Sundance earlier this year. And I expect similar results at SXSW.

Before I Disappear

Based on his 2013 Academy Award winning short film Curfew, Shawn Christensen’s film is about a man whose suicidal thoughts are suddenly interrupted by a phone call from his estranged sister. The wide range of emotions he was able to pack into a short film impressed me, but I wondered how the film would transition into a full-length feature some day. Luckily, I will not have to wonder for much longer.

The dust is now settling in Park City after Sundance finished up a week or two ago, meanwhile the people in Austin are getting prepared for the onslaught of crowds for the SXSW festival of films, music, and technology. Today the lineup for the 2014 SXSW Film Festival has been revealed. As usual, there were a couple Sundance standouts such as Richard Linklater’s Boyhood and Lenny Abrahamson’s Frank that will be making an appearance at the festival. Other noteworthy titles in the lineup include; Creep that was written by and stars Mark Duplass, Nacho Vigilondo’s Open Windows, David Gordon Green’s Joe, Nicholas Stoller’s Neighbors, Bad Words, and many, many more. See the full list of films below.

I will be attending SXSW this year, so be sure to check back for coverage and follow us on Twitter for instant updates.

SXSW 2014 Full Lineup

NARRATIVE FEATURE COMPETITION

Eight world premieres, eight unique ways to celebrate the art of storytelling. Selected from 1,324 films submitted to SXSW 2014. Films screening in Narrative Feature Competition are:

10,000KM (Spain)
Director: Carlos Marques Marcet, Screenwriters: Carlos Marques-Marcet, Clara Roquet Autonell
A year of a long distance relationship, two computers and two cities – Los Angeles and Barcelona, can love survive 6,000 miles? Cast: Natalia Tena, David Verdaguer (World Premiere)

Animals
Director: Collin Schiffli, Screenwriter: David Dastmalchian
Jude and Bobbie are a young, homeless couple who masterfully con and steal in an attempt to stay one step ahead of their addiction. They are ultimately forced to face the reality of their situation when one of them is hospitalized. Cast: David Dastmalchian, Kim Shaw, John Heard (World Premiere)

Before I Disappear
Director/Screenwriter: Shawn Christensen
Based on the 2013 Academy Award® winning short film Curfew. At the lowest point of his life, Richie gets a call from his estranged sister, asking him to look after his eleven-year-old niece, Sophia, for a few hours. (World Premiere)
Cast: Shawn Christensen, Fatima Ptacek, Emmy Rossum, Paul Wesley, Ron Perlman, Richard Schiff

Fort Tilden
Directors/Screenwriters: Sarah-Violet Bliss, Charles Rogers
It shouldn’t be this hard for Allie and Harper to get to the beach. (World Premiere)
Cast: Bridey Elliott, Clare McNulty, Griffin Newman, Jeffrey Scaperrotta, Neil Casey

The Heart Machine
Director/Screenwriter: Zachary Wigon
A man begins to suspect that his long-distance girlfriend, whom he met online but has never met in person, has been living in the same city the whole time and sets out to find her. (World Premiere)
Cast: John Gallagher Jr., Kate Lyn Sheil, David Call, Louisa Krauss

I Believe in Unicorns
Director/Screenwriter: Leah Meyerhoff
I Believe in Unicorns follows the lyrical journey of an imaginative teenage girl who runs away from home with an older punk rock drifter, but not even unicorns can save her now. (World Premiere)
Cast: Natalia Dyer, Peter Vack, Julia Garner, Amy Seimetz, Toni Meyerhoff

The Mend
Director/Screenwriter: John Magary
A dark comedy about rage, doubt, lust, madness and other brotherly hand-me-downs. (World Premiere)
Cast: Josh Lucas, Stephen Plunkett, Lucy Owen, Mickey Sumner, Austin Pendleton

Wild Canaries
Director/Screenwriter: Lawrence Michael Levine
When their elderly neighbor suddenly drops dead, a young Brooklyn couple investigates signs of foul play. (World Premiere)
Cast: Sophia Takal, Lawrence Michael Levine, Alia Shawkat, Annie Parisse, Jason Ritter

DOCUMENTARY FEATURE COMPETITION

Selected from 892 submissions, the eight world premieres in the Documentary Feature category bring real world stories to life, demonstrating innovation, energy and bold voices.

Films screening in Documentary Feature Competition are:

Beginning With The End
Director: David Marshall
Beginning With the End takes viewers on a profound, and profoundly moving, journey with a group of high school seniors working as trained hospice volunteers — a story of beginnings and endings in a year of self-discovery and awakening. (World Premiere)

Born To Fly
Director: Catherine Gund
Born To Fly pushes the boundaries between action and art, daring us to join choreographer Elizabeth Streb and her dancers in pursuit of human flight. (World Premiere)
*SXsports screening

The Great Invisible
Director: Margaret Brown
Penetrating the oil industry’s secretive world, The Great Invisible examines the Deepwater Horizon disaster through the eyes of oil executives, explosion survivors and Gulf Coast residents who were left to pick up the pieces when the world moved on. (World Premiere)

The Immortalists
Directors: Jason Sussberg, David Alvarado
Two eccentric scientists struggle to create eternal youth in a world they call “blind to the tragedy of old age.”  As they battle their own aging and suffer the losses of loved ones, their scientific journeys ultimately become personal. (World Premiere)

Impossible Light
Director: Jeremy Ambers
Impossible Light reveals the drama and the daring of artist Leo Villareal and a small team of visionaries who battle seemingly impossible challenges to turn a dream of creating the world’s largest LED light sculpture into a glimmering reality. (World Premiere)

Mateo
Director: Aaron I. Naar
Mateo follows America’s most notorious white mariachi singer on his misadventures in Cuba. (World Premiere)

Print the Legend
Directors: Luis Lopez, Clay Tweel
The 3D Printing revolution has begun. Who will make it? (World Premiere)

Vessel
Director: Diana Whitten
A fearless sea captain, Dr. Rebecca Gomperts, sails a ship through loopholes in international law, providing abortions on the high seas, and leaving in her wake a network of emboldened activists who trust women to handle abortion on their own terms. (World Premiere)

HEADLINERS

Big names, big talent: Headliners bring star power to SXSW, featuring red carpet premieres & gala film events with major & rising names in cinema.

Films screening in Headliners are:

Chef
Director/Screenwriter: Jon Favreau
Chef is a rich and vibrant comedy – the story of Carl Casper (Favreau), who loses his chef job and cooks up a food truck business in hopes of reestablishing his artistic promise. At the same time, he tries to reconnect with his estranged family.
Cast: Jon Favreau, Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Dustin Hoffman, Oliver Platt, Robert Downey, Jr., Emjay Anthony (World Premiere)

Joe
Director: David Gordon Green, Screenwriters: Larry Brown, Gary Hawkins
A gripping mix of friendship, violence and redemption erupts in the contemporary South in this adaptation of Larry Brown’s novel. Cast: Nicolas Cage, Tye Sheridan
(U.S. Premiere)

Neighbors
Director: Nicholas Stoller, Screenwriters: Andrew J. Cohen, Brendan O’Brien
Seth Rogen, Zac Efron and Rose Byrne lead the cast of Neighbors, a comedy about a young couple suffering from arrested development who are forced to live next to a fraternity house after the birth of their newborn baby. Cast: Seth Rogen, Zac Efron, Rose Byrne, Christopher Mintz-Plasse, Dave Franco, Ike Barinholtz, Lisa Kudrow
(Worldwide Debut – work-in-progress)

Predestination (Australia)
Directors/Screenwriters: Michael Spierig, Peter Spierig
A riveting adventure through time centered on a secret government time traveling agency designed to prevent future killers and terrorists from committing their crimes.
Cast: Ethan Hawke, Sarah Snook, Noah Taylor
(World Premiere)

Veronica Mars
Director/Screenwriter: Rob Thomas, Screenwriter: Diane Ruggiero
Years after walking away from her past as a teenage private eye, Veronica Mars gets pulled back to her hometown, an ex-boyfriend with baggage, and an unraveling murder mystery.
Cast: Kristen Bell, Jason Dohring, Krysten Ritter, Ryan Hansen, Enrico Colantoni
(World Premiere)

NARRATIVE SPOTLIGHT

High profile narrative features receiving their World, North American or US Premieres at SXSW.

Films screening in Narrative Spotlight are:

Break Point
Director: Jay Karas, Screenwriters: Gene Hong, Jeremy Sisto
Two estranged brothers reunite to make an improbable run at a grand slam tennis tournament. The mismatched pair, with some unlikely help from a precocious 11-year-old boy, re-discover their game and their brotherhood.
Cast: Jeremy Sisto, David Walton, Joshua Rush, J.K. Simmons, Amy Smart (World Premiere)
*SXsports screening

CESAR CHAVEZ
Director: Diego Luna, Screenwriters: Keir Pearson, Timothy J. Sexton
Chávez chronicles the birth of a modern American movement led by famed civil rights leader and labor organizer, Cesar Chavez. Cast: Rosario Dawson, John Malkovich, Michael Pena, America Ferrera, Gabriel Mann (North American Premiere)

Faults
Director/Screenwriter: Riley Stearns
An expert on cults is hired by a mother and father to kidnap and deprogram their brainwashed daughter. He soon begins to suspect the parents may be more destructive than the cult he’s being hired to save her from. Cast: Leland Orser, Mary Elizabeth Winstead, Chris Ellis, Lance Reddick, Jon Gries (World Premiere)

The Frontier
Director/Screenwriter: Matt Rabinowitz, Screenwriter: Carlos Colungu
An estranged son travels back home to confront his overbearing father to see if there is any relationship left between them.
Cast: Max Gail, Coleman Kelly, Anastassia Sendyk, Katherine Cortez, Oliver Seitz
(World Premiere)

Kelly & Cal
Director: Jen McGowan, Screenwriter: Amy Lowe Starbin
Kelly & Cal explores the heartfelt, somewhat absurd moments in our lives when we seek out a little bit of extra attention. Cast: Juliette Lewis, Jonny Weston, Josh Hopkins, Cybil Shepherd
(World Premiere)

The Mule (Australia)
Directors: Angus Sampson, Tony Mahony, Screenwriters: Leigh Whannell, Angus Sampson
In 1983, a naive man is detained by Australian Federal Police with lethal narcotics hidden in his stomach. Caught, ‘The Mule’ makes a desperate choice…to defy his bodily functions and withhold the evidence…literally. Cast: Hugo Weaving, Angus Sampson, Leigh Whannell, Ewen Leslie, Geoff Morrell, Georgina Haig, Noni Hazlehurst, John Noble
(World Premiere)

A Night In Old Mexico (USA / Spain)
Director: Emilio Aragón, Screenwriter: William D. Wittliff
Forced to give up his land and home, Texas rancher Red Bovie isn’t about to retire quietly in a dismal trailer park. Instead he hits the road with his estranged grandson for one last adventure.
Cast: Robert Duvall, Jeremy Irvine, Angie Cepeda, Luis Tosar, Joaquín Cosio
(World Premiere)

Patrick’s Day (Ireland)
Director/Screenwriter: Terry McMahon
A young man with mental health issues becomes intimate with a suicidal air hostess but his obsessive mother enlists a dysfunctional cop to separate them.
Cast: Kerry Fox, Moe Dunford, Catherine Walker, Philip Jackson
(World Premiere)

Sequoia
Director: Andy Landen, Screenwriter: Andrew Rothschild
Faced with stage three cancer, a young woman sets out to end her life on her own terms, in Sequoia National Park. Cast: Aly Michalka, Dustin Milligan, Todd Lowe, Demetri Martin, Sophi Bairley
(World Premiere)

She’s Lost Control
Director/Screenwriter: Anja Marquardt
Ronah’s life unravels when she starts working with a new client, Johnny.
Cast: Brooke Bloom, Marc Menchaca, Dennis Boutsikaris, Laila
(North American Premiere)

Take Care
Director/Screenwriter: Liz Tuccillo
After being hit by a car, a woman (Leslie Bibb) comes home to realize her friends don’t really want to take care of her. Desperate for help, she turns to an unlikely source.
Cast: Leslie Bibb, Thomas Sadoski, Betty Gilpin, Michael Stahl David, Nadia Dajani
(World Premiere)

Thank You a Lot
Director/Screenwriter: Matt Muir
A struggling, two-bit music manager will lose his job unless he signs a reclusive country music singer, James Hand, who also happens to be his estranged father. Cast: Blake DeLong, James Hand, Robyn Rikoon, Sonny Carl Davis, Jeffery Da’Shade Johnson
(World Premiere)

Things People Do
Director: Saar Klein, Screenwriters: Joe Conway, Saar Klein
Bill Scanlin loses his job and embarks on a life of crime. As Bill stays ahead of the law, he discovers that sometimes the only thing worse than getting caught is getting away with it.
Cast: Wes Bentley, Jason Isaacs, Vinessa Shaw, Haley Bennett
(North American Premiere)

Two Step
Director/Screenwriter: Alex R. Johnson
Two Step is a fast-paced Texas thriller in which the lives of James, a directionless college dropout, and Webb, a career criminal with his back against the wall, violently collide.
Cast: Beth Broderick, James Landry Hébert, Skyy Moore, Jason Douglas, Ashley Rae Spillers
(World Premiere)

We’ll Never Have Paris
Directors: Jocelyn Towne, Simon Helberg, Screenwriter: Simon Helberg
We’ll Never Have Paris is a clumsy and at once human account of screwing up on a transcontinental level in a noble effort to win back “the one.” Cast: Simon Helberg, Maggie Grace, Melanie Lynskey, Alfred Molina, Zachary Quinto, Jason Ritter
(World Premiere)

DOCUMENTARY SPOTLIGHT

Shining a light on new documentary features receiving their World, North American or U.S. Premieres at SXSW.

Films screening in Documentary Spotlight are:

Above All Else
Director: John Fiege
A former stuntman and high wire artist puts his family and future on the line when he rallies a group of East Texas landowners and activists to blockade the controversial Keystone XL pipeline. (World Premiere)

Butterfly Girl
Director: Cary Bell
Abbie came of age in honky tonks, defying her life threatening disease, but all the while longing for an identity of her own. Now that she is 18, how much is she willing to sacrifice for her independence? (World Premiere)

DamNation
Directors: Travis Rummel, Ben Knight
This powerful film odyssey across America explores the sea change in national attitude from pride in big dams as engineering wonders to the growing awareness that our own future is bound to the life and health of our rivers. (World Premiere)

Doc of the Dead
Director: Alexandre O. Philippe
The definitive zombie culture documentary, from the makers of The People vs. George Lucas. Doc of the Dead traces the rise and evolution of the zombie genre, its influence on pop culture, and investigates the possibility of an actual zombie outbreak. (World Premiere)

Harmontown
Director: Neil Berkeley
A comedic, brutally honest documentary following self-destructive TV writer Dan Harmon (NBC’s Community) as he takes his live podcast on a national tour. (World Premiere)

LADY VALOR: The Kristin Beck Story
Directors: Sandrine Orabona, Mark Herzog
A former U.S. Navy Seal seeks life, liberty and the pursuit of happiness living life as a transgender woman. (World Premiere)

The Legend Of Shorty (UK)
Directors: Angus MacQueen, Guillermo Galdos
The Legend of Shorty is the story of a man and a myth. (World Premiere)

Manny
Directors: Ryan Moore, Leon Gast
From abject poverty to international hero, Manny Pacquiao rose to fame in the boxing ring. At the height of his career, Manny entered the political arena. As history’s only boxing Congressman, Manny is faced with a new challenge. (World Premiere)
*SXsports screening

Seeds of Time
Director: Sandy McLeod
Seeds of Time follows agriculture pioneer Cary Fowler’s global journey to save the eroding foundation of our food supply in a new era of climate change. (North American Premiere)

Supermensch
Director: Mike Myers
Mike Myers makes his directorial debut with this star-packed documentary about the legendary Shep Gordon, who managed the careers of Alice Cooper, Blondie, Luther Vandross, and Raquel Welch — and still had time to invent the “celebrity chef”. (U.S. Premiere)

That Guy Dick Miller
Director: Elijah Drenner
That Guy Dick Miller is the incredible true story of the wannabe-writer, turned accidental character-actor.
(World Premiere)

Wicker Kittens
Director: Amy C. Elliott
Every January, the country’s largest jigsaw puzzle contest is held in St. Paul, Minnesota. Wicker Kittens invites you to choose your favorite team and watch them try to put the pieces back together. (World Premiere) *SXsports screening

VISIONS

Audacious, risk-taking artists in the new cinema landscape that demonstrate raw innovation and creativity in documentary and narrative filmmaking.

Films screening in Visions are:

Arlo and Julie
Director/Screenwriter: Steve Mims
A neurotic couple’s obsession with a mysterious puzzle comically unravels their world, disconnecting them from reality and jeopardizing their fragile relationship.
Cast: Alex Dobrenko, Ashley Spillers, Chris Doubek, Sam Eidson, Hugo Zesati (World Premiere)

Beyond Clueless (UK)
Director: Charlie Lyne
Narrated by cult teen star Fairuza Balk, Beyond Clueless is a dizzying journey into the mind, body and soul of the teen movie, as seen through the eyes of over 200 modern coming-of-age classics. (World Premiere)

Big Significant Things
Director/Screenwriter: Bryan Reisberg
A week before they move across the country together, Craig lies to his girlfriend in order to go on his first road trip – to the south. Alone. Cast: Harry Lloyd, Krista Kosonen (World Premiere)

Buzzard
Director/Screenwriter: Joel Potrykus
Devil masks, metal, video games, Mountain Dew, and a Party Zone. Scheming slackers of the world unite and take over!
Cast: Joshua Burge, Joel Potrykus, Teri Ann Nelson, Alan Longstreet, Rico Bruce Wade (World Premiere)

Creep
Director/Screenwriter: Patrick Brice, Screenwriter: Mark Duplass
When a videographer answers a Craigslist ad for a one-day job in a remote mountain town, he finds his client is not at all what he initially seems. Cast: Mark Duplass, Patrick Brice (World Premiere)

Cumbres (Heights) (Mexico)
Director/Screenwriter: Gabriel Nuncio
Due a tragedy, two sisters abruptly escape from their hometown in Northern Mexico. Their journey creates a bittersweet relationship marked by pain, guilt and love.
Cast: Aglae Lingow, Ivanna Michel, Abdul Marcos, Sergio Quiñones, Ganzo Cepeda (U.S. Premiere)

The Dance of Reality (Chile / France)
Director/Screenwriter: Alejandro Jodorowsky
The Dance of Reality is a 2013 independent autobiographical film written, produced and directed by Alejandro Jodorowosky. Cast: Brontis Jodorowsky, Pamela Flores, Jeremias Herskovits, Cristobal Jodorowsky, Bastián Bodenhöfer, Alejandro Jodorowsky (U.S. Premiere)

Evaporating Borders (USA / Cyprus)
Director: Iva Radivojevic
Evaporating Borders is a poetically photographed and rendered film on tolerance and search for identity. Told through 5 vignettes portraying the lives of migrants on the island of Cyprus, it passionately weaves themes of displacement and belonging. (North American Premiere)

Evolution of a Criminal
Director: Darius Clark Monroe
How does a 16 year-old evolve into a bank robber? (World Premiere)

Housebound (New Zealand)
Director/Screenwriter: Gerard Johnstone
When Kylie Bucknell is sentenced to home detention, she’s forced to come to terms with her unsociable behaviour, her blabbering mother and a hostile spirit who seems less than happy about the new living arrangement.
Cast: Morgana O’Reilly, Rima Te Wiata, Glen-Paul Waru, Cameron Rhodes, Millen Baird (World Premiere)

The Infinite Man (Australia)
Director/Screenwriter: Hugh Sullivan
The Infinite Man is a time travel comedy-romance about a man whose attempts to construct the perfect romantic weekend backfire when he traps his lover in an infinite loop.
Cast: Josh McConville, Hannah Marshall, Alex Dimitriades (World Premiere)

Open Windows (Spain)
Director/Screenwriter: Nacho Vigalondo
Nick’s a lucky guy – he’s having dinner with Jill Goddard, the hottest actress on earth. Then a guy named Chord calls: dinner’s been canceled. And it’s Jill’s fault. But Chord’s got something better… A 21st Century Rear Window. Cast: Elijah Wood, Sasha Grey, Neil Maskell, Adam Quintero, Ivan Gonzalez (World Premiere)

Other Months
Director/Screenwriter: Nick Singer
Marking time as an itinerant plumber, and haunted by recurrent nightmares, Nash hungers for the fleeting ecstasies of nightclubs and bedrooms. Other Months is a stark, honest portrait of disconnection—a young man coming to face his paralysis. Cast: Christopher Bonewitz, Britannie Bond, Emma Morrison-Cohen, Liam Ahern, David Rudi Utter (World Premiere)

The Possibilities Are Endless (UK)
Directors: Edward Lovelace, James Hall
Scottish musician, Edwyn Collins’ world was shattered by a devastating stroke. After fighting back from the brink of death, he discovers that life, love and language mean even more to him that he could ever have imagined. (World Premiere)

Premature
Director/Screenwriter: Dan Beers, Screenwriter: Mathew Harawitz
On the most important day of his young life, a high school senior is forced to relive his failed attempt at losing his virginity over and over again, until he gets it right.
Cast: John Karna, Katie Findlay, Craig Roberts, Carlson Young, Adam Riegler (World Premiere)

Song from the Forest (Germany)
Director: Michael Obert
A modern epic set between rainforest and skyscrapers. (North American Premiere)

Space Station 76
Director/Screenwriter: Jack Plotnick, Screenwriters: Jennifer Cox, Sam Pancake, Kali Rocha, Michael Stoyanov
Welcome to the future of the past.
Cast: Patrick Wilson, Liv Tyler, Matt Bomer, Marisa Coughlan, Kylie Rogers (World Premiere)

Surviving Cliffside
Director: Jon Matthews
A West Virginia family faces illness, addiction, and gun violence—while their daughter makes a run for Little Miss West Virginia. (World Premiere)

The Wilderness of James
Director/Screenwriter: Michael Johnson
A restless teenager explores the wilderness of his city while struggling with the absence of his father. Cast: Kodi Smit-McPhee, Virginia Madsen, Isabelle Fuhrman, Evan Ross, Danny DeVito (World Premiere)

EPISODIC (*New screening section)

Featuring innovative new work aimed squarely at the small screen, Episodic tunes in to the explosion of exciting material on non-theatrical platforms, including serialized TV, webisodes and beyond.

Shows premiering in Episodic are:

COSMOS: A SpaceTime Odyssey
Directors: Brannon Braga, Bill Pope, Screenwriters: Ann Druyan, Steven Soter
COSMOS: A SpaceTime Odyssey is a thrilling, 13-part adventure across the universe of space and time revealed by science, exploring humanity’s heroic quest for a deeper understanding of nature.
Narrator: Neil deGrasse Tyson

Deadbeat
Director: Troy Miller, Written And Co-Created By: Cody Heller, Brett Konner
Kevin Pacalioglu may have no money and no clue, but he does have one thing–he can see dead people. Faced with New York’s most stubborn ghosts, our hapless medium goes to whatever lengths necessary to help finish their unfinished business. Cast: Tyler Labine, Cat Deeley, Brandon T. Jackson, Lucy DeVito (World Premiere)

From Dusk Till Dawn: The Series – Pilot
Director/Screenwriter: Robert Rodriguez
The Gecko Brothers are back. Based on the thrill-ride film, From Dusk Till Dawn: The Series is a supernatural crime saga from Creator, Director and EP Robert Rodriguez premiering March 11 on El Rey Network.
Cast: D.J. Cotrona, Zane Holtz, Eiza González, Jesse Garcia, Lane Garrison, and Wilmer Valderrama, and Don Johnson (World Premiere)

Halt and Catch Fire
Director: Juan Jose Campanella, Screenwriters: Christopher Cantwell, Christopher C. Rogers
Halt and Catch Fire captures the rise of the PC era in the early 1980s, during which an unlikely trio – a visionary, an engineer and a prodigy – take personal and professional risks in the race to build a computer that will change the world as they know it. Cast: Lee Pace, Scoot McNairy, Mackenzie Rio Davis, Kerry Bishe, Toby Huss, David Wilson Barnes (World Premiere)

Penny Dreadful (USA / UK)
Directors: John Logan, Juan Antonio Bayona, Screenwriter: John Logan
Penny Dreadful is a psychological horror series that re-imagines literature’s most terrifying characters (Dr. Frankenstein, Dorian Gray and iconic figures from the novel Dracula) in a whole new light.
Cast: Josh Hartnett, Timothy Dalton, Eva Green, Reeve Carney, Rory Kinnear, Billie Piper, Danny Sapani, Harry Treadaway (World Premiere)

Silicon Valley
Director: Mike Judge, Created By: Mike Judge & John Altschuler & Dave Krinsky,
Episode One Written By Mike Judge & John Altschuler & Dave Krinsky.
Episode Two Written By Carson Mell.
The new HBO series Silicon Valley takes a comic look at the modern-day epicenter of the high-tech gold rush, where the people most qualified to succeed are the least capable of handling success.
Cast: Thomas Middleditch, T.J. Miller, Zach Woods, Kumail Nanjiani, Martin Starr, Josh Brener, Christopher Evan Welch, Amanda Crew, Matt Ross (World Premiere)

24 BEATS PER SECOND

Showcasing the sounds, culture & influence of music & musicians, with an emphasis on documentary.

Films screening in 24 Beats Per Second are:

The 78 Project Movie
Director: Alex Steyermark
The 78 Project is a journey to connect today’s musicians with the recordings of the past. Using a 1930’s Presto recorder, artists get one take to cut a 78rpm record anywhere, finding in that adventure a new connection to our shared cultural legacy. (World Premiere)

AMERICAN INTERIOR (Wales)
Directors: Dylan Goch, Gruff Rhys
Two men. Two quests. Two centuries apart. Four ways to experience the search for a lost tribe. Film. Book. Album . App. (World Premiere)

The Case of the Three Sided Dream
Director: Adam Kahan
The documentary film on the life and legacy of Rahsaan Roland Kirk – a one of a kind musician, personality, activist and windmill slayer who despite being blind, becoming paralyzed, and facing America’s racial injustices – did not relent. (World Premiere)

Deep City
Directors: Dennis Scholl, Marlon Johnson
Deep City is an inspirational story that explores the early days of soul music in South Florida, the pioneers of that era and their lasting contributions to the broader American musical landscape. (World Premiere)

God Help the Girl (UK)
Director/Screenwriter: Stuart Murdoch
An indie musical from Stuart Murdoch of Belle and Sebastian about two girls and a boy and the music they made one Glasgow summer.
Cast: Emily Browning, Olly Alexander, Hannah Murray, Pierre Boulanger, Cora Bissett

JOHNNY WINTER: DOWN & DIRTY
Director: Greg Olliver
A down & dirty documentary on the life and career of blues legend Johnny Winter, featuring Edgar Winter, James Cotton, Billy Gibbons, Warren Haynes, Luther Nallie, Tommy Shannon, Susan Tedeschi, Derek Trucks and more. (World Premiere)

Leave The World Behind (UK)
Director: Christian Larson
A documentary following the break-up of Swedish House Mafia and their subsequent One Last Tour. A rare look at the electronic scene, amazing live footage and the psychological drama of 3 guys who walked away from everything to save their friendship. (World Premiere)

Our Vinyl Weighs A Ton (This Is Stones Throw Records)
Director: Jeff Broadway
Our Vinyl Weighs A Ton is a feature-length documentary about avant-garde Los Angeles-based record label Stones Throw Records.

Que Caramba es la Vida (Germany)
Director: Doris Dörrie
In the macho world of Mariachi music, very few women can hold their own. Just like the songs they play, this film is a snapshot of life, death and the things in between – seen from a bird’s-eye perspective. (World Premiere)

Road To Austin
Director: Gary Fortin
Road To Austin, chronicles how Austin, Texas became the Live Music Capital of the World, dating from 1835 to present day. The film builds to a climax and weaves its way towards an all-star live performance led by Stephen Bruton and his 14-piece band. (World Premiere)

Rubber Soul
Director/Screenwriter: Jon Lefkovitz
Rubber Soul reconstructs portions of two historical interviews with John Lennon and Yoko Ono based on available transcripts and audio, juxtaposing them in order to explore the dynamic nature of Lennon’s identity over time. Cast: Joseph Bearor, Denice Lee, Dillon Porter, Andrew Perez (World Premiere)

Sheffield: Sex City (UK)
Director: Florian Habicht
Dylan said ‘Don’t Look Back’ – but what happens if you do? (World Premiere)

Soul Boys of the Western World (UK)
Director: George Hencken
A voyage through the heart of the 80s with one of the decade’s most iconic bands, Spandau Ballet, this archive-only film tells the story of a group of working-class London lads who created a global music Empire, but at a price none of them imagined. (World Premiere)

SVDDXNLY
Director: David Laven
SVDDXNLY uncovers the young life and career of A$AP Rocky and the A$AP Mob, from humble Harlem beginnings to their rapid rise to fame. (World Premiere)

Take Me to the River
Director: Martin Shore
Take Me to the River is a film about the soul of American music. The film follows the recording of a new album featuring legends from Stax records and Memphis mentoring and passing on their musical magic to stars and artists of today. (World Premiere)

The Winding Stream
Director: Beth Harrington
The Winding Stream is the story of the American music dynasty, the Carters and Cashes, and their decades-long influence on popular music. (World Premiere)

SXGLOBAL

A diverse selection of International filmmaking talent, featuring innovative narratives, artful documentaries, premieres, festival favorites and more.

Films screening in SX Global are:

The Desert (Argentina)
Director: Christoph Behl
The failed story of a love triangle in a post-apocalyptic world.
Cast: Victoria Almeida, William Prociuk, Lautaro Delgado (North American Premiere)

For Those in Peril (UK)
Director/Screenwriter: Paul Wright
In a remote Scottish town, a young man is the lone survivor of a strange fishing accident that claimed the lives of 5 men. Spurred on by sea-going folklore, the village blames him for this tragedy, making him an outcast amongst his own people.
Cast: George Mackay, Michael Smiley, Nichola Burley, Kate Dickie (North American Premiere)

The Special Need (Germany / Italy / Austria)
Director: Carlo Zoratti
Searching for “the first time” Alex, Carlo and their autistic friend Enea find a lot more than they were looking for… (North American Premiere)

Ukraine Is Not A Brothel (Australia)
Director: Kitty Green
A feature documentary that reveals the truth behind Ukraine’s topless feminist sensation, ‘Femen’.

Wetlands (Germany)
Director: David F. Wnendt, Screenwriters: Claus Falkenberg, David F. Wnendt
18-year-old Helen has her very own view on life, hygiene and good sex. she loves to shock people with unexpected and un-girly behavior.
Cast: Carla Juri, Christoph Letkowski, Meret Becker, Marlen Kruse, Peri Baumeister

A Wolf at the Door (Brazil)
Director/Screenwriter: Fernando Coimbra
A nerve-rattling tale of a kidnapped child and the distraught parents left behind that captures the darkness that ensues when panic breeds suspicion and love turns to hate.
Cast: Milhelm Cortaz, Leandra Leal, Fabiula Nascimento (U.S. Premiere)

FESTIVAL FAVORITES

Acclaimed standouts & selected previous premieres from festivals around the world.

Films screening in Festival Favorites are:

Bad Words
Director: Jason Bateman, Screenwriter: Andrew Dodge
Jason Bateman’s feature directorial debut is the subversive comedy Bad Words. Bateman stars as Guy, who finds a loophole in the rules of a national spelling bee and causes trouble by hijacking the competition.
Cast: Jason Bateman, Kathryn Hahn, Rohan Chand, Philip Baker Hall, Allison Janney

Boyhood
Director/Screenwriter: Richard Linklater
One family’s journey shot over the course of 12 years.
Cast: Patricia Arquette, Ethan Hawke, Ellar Coltrane, Lorelei Linklater

The Case Against 8
Directors: Ben Cotner, Ryan White
A behind-the-scenes look inside the case to overturn California’s ban on same-sex marriage. Shot over five years, the film follows the unlikely team that took the first federal marriage equality lawsuit to the U.S. Supreme Court.

The Dog
Directors: Allison Berg, Frank Keraudren
An astonishing documentary portrait of the late John Wojtowicz, whose attempted robbery of a Brooklyn bank to finance his male lover’s sex-reassignment surgery was the real-life inspiration for the classic Al Pacino film Dog Day Afternoon.

For No Good Reason (England)
Director: Charlie Paul
Johnny Depp pays a call on his friend and hero Ralph Steadman and we take off on a high-spirited, raging and kaleidoscopic journey discovering the life and works of one of the most distinctive radical artists of the last 50 years.

Frank
Director: Lenny Abrahamson, Screenwriters: Jon Ronson, Peter Straughan
Frank is a comedy about a young wannabe musician, Jon, who discovers he’s bitten off more than he can chew when he joins a band of eccentric musicians led by the mysterious and enigmatic Frank and his terrifying sidekick, Clara. Cast: Domhnall Gleeson, Maggie Gyllenhaal, Michael Fassbender, Scoot McNairy, Carla Azar

Hellion
Director/Screenwriter: Kat Candler
When 13-year-old Jacob’s delinquent behavior results in the authorities placing his little brother Wes with their aunt, he and his emotionally absent father must finally take responsibility for their actions and each other in order to bring Wes home. Cast: Aaron Paul, Juliette Lewis, Josh Wiggins, Deke Garner, Jonny Mars

The Internet’s Own Boy:  The Story of Aaron Swartz
Director: Brian Knappenberger
The story of programming prodigy and information activist Aaron Swartz, from the development of RSS and Reddit to his groundbreaking work in political organizing and the tragic taking of his own life at the age of 26.

JIMI: All Is By My Side
Director/Screenwriter: John Ridley
Covering a year in Hendrix’s life from 1966-67, the film presents an intimate portrait of the sensitive young musician on the verge of becoming a rock legend.
Cast: Andre Benjamin, Hayley Atwell, Imogen Poots, Ruth Negga, Adrian Lester (U.S. Premiere)

Kumiko, The Treasure Hunter
Director/Screenwriter: David Zellner, Screenwriter: Nathan Zellner
A lonely Japanese woman abandons her structured life in Tokyo to seek a satchel of money rumored to be hidden in the Minnesota wilderness.
Cast: Rinko Kikuchi, Nobuyuki Katsube, David Zellner, Nathan Zellner, Shirley Venard

No No: A Dockumentary
Director: Jeffrey Radice
In the 1970s Dock Ellis pitched a no-hitter on LSD and courted conflict and controversy, but his latter years were spent helping others recover from addiction. No No: A Dockumentary weaves a surprising story of a life in and out of the spotlight.
*SXsports screening

Obvious Child
Director/Screenwriter: Gillian Robespierre
Obvious Child is an unapologetically honest comedy about what happens when 27 year‑old Brooklyn stand-up comedian Donna Stern (Jenny Slate) gets dumped, fired and pregnant just in time for Valentine’s Day.
Cast: Jenny Slate, Jake Lacy, Gaby Hoffmann, Gabe Liedman, David Cross

Only Lovers Left Alive
Director/Screenwriter: Jim Jarmusch
A story centered on two vampires who have been in love for centuries.
Cast: Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin

Ping Pong Summer
Director/Screenwriter: Michael Tully
Coming soon…Summer 1985.
Cast: Susan Sarandon, John Hannah, Lea Thompson, Amy Sedaris, Robert Longstreet

The Raid 2
Director/Screenwriter: Gareth Evans
Picking up from right where the first film ends, The Raid 2 follows Rama as he goes undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and uncover the corruption in the police force.
Cast: Iko Uwais, Yayan Ruhian, Arifin Putra, Oka Antara, Tio Pakusadwo

SPECIAL EVENTS

Live Soundtracks, cult re-issues & much more. Our Special Events section offers unusual, unexpected & unique film event one-offs.

All American High: Revisited
Director: Keva Rosenfeld
All American High: Revisited is a time capsule of teen life in the 1980s, a long-lost documentary that captures an unforgettable era through the eyes of those who lived it.

Double Play: James Benning and Richard Linklater (France / Portugal / US)
Director: Gabe Klinger
A documentary portrait of the friendship between the renowned filmmakers James Benning and Richard Linklater. (U.S. Premiere)

GODZILLA: THE JAPANESE ORIGINAL (Japan)
Director: Ishiro Honda, Screenwriters: Takeo Murata, Ishiro Honda
The 1954 classic that inspired the modern monster movie (national re-release from Rialto Pictures in April). Q&A with Gareth Edwards, director of the summer 2014 film Godzilla, from Warner Bros Pictures and Legendary Pictures. Cast: Takashi Shimura, Akira Takarada, Momoko Kochi

The Grand Budapest Hotel – Extended Q&A with Wes Anderson
Director/Screenwriter: Wes Anderson
The Grand Budapest Hotel recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars; and Zero Moustafa, the lobby boy who becomes his most trusted friend.  The story involves the theft and recovery of a priceless Renaissance painting; a raging battle for an enormous family fortune; a desperate chase on motorcycles, trains, sleds, and skis; and the sweetest confection of a love affair – all against the back-drop of a suddenly and dramatically changing Continent.
Cast: Ralph Fiennes, Tony Revolori, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson

The Texas Chain Saw Massacre – 40th Anniversary Screening
Director/Screenwriter: Tobe Hooper, Screenwriter: Kim Henkel
An idyllic summer afternoon becomes a terrifying nightmare for five young friends after they stumble upon the home of a depraved Texas clan. Cast: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim