Directed by Peter Sollett and written by Philadelphia screenwriter Ron Nyswaner, Freeheld follows the true story of Laurel Hester (Julianne Moore), a New Jersey police officer diagnosed with cancer, who’s blocked by county officials from passing on her pension benefits to her partner, Stacie Andree (Ellen Page). Aiding the couple in their battle against the county is Hester’s longtime NJPD partner, Dane Wells (Michael Shannon) and a group of vocal gay rights activists. Following in the footsteps of Cynthia Wade’s 2007 documentary of the same name, Freeheld tells Laurel and Stacie’s story not as one of activism, but of love.

In a roundtable interview, I spoke to Moore and Page during their visit to San Francisco to promote the film. Freeheld is out in wide release tomorrow, October 16th.

The script has been around for a while and the film’s finally been made. What sort of changes did it undergo over that period of time?

Julianne: This time last fall, we were shooting it. There wasn’t a whole lot of time between when I received the script and when we started shooting it. For me it was all fairly recent. That being said, it came to Ellen considerably earlier. She was attached right after the documentary won the Academy Award in 2008.

Ellen, you were attached from the beginning as a producer. Did you always see yourself playing Stacie?

Ellen: Oh, yeah. My first entrance to this was to play Stacie. Michael Shamberg and Stacey Sher sent me the documentary and I wept. It’s amazing. I was moved by [Laurel and Stacie’s] story. I was moved by their love, their dedication to one another. I thought what they went through was just cruel. I just feel honored to be a part of telling their story.

Julianne, you said in an interview that movies aren’t necessarily meant to change things, but to reflect changes.

Julianne: What I said was that movies don’t necessarily change culture. I don’t know if we know for sure if movies change culture but we know for sure that they reflect culture. People will sometimes say, “This movie broke totally new ground.” You know what? The ground was actually already broken, and we made a movie about it. Sometimes something will be happening in pop culture and a movie will be right there, so you’ll have this perception that maybe the movie got there first. But in reality, culture gets there first. It’s like the Supreme Court. I feel like the Supreme Court usually makes a decision on something once popular opinion has actually swung. They very rarely lead with an opinion—they’re usually following the opinion of the American people. I feel like movies are like that, too.

The Kids Are All Right came out in a time when a lot of people wanted gay marriage to be passed. It showed a relationship that was very much a marriage to many people who hadn’t seen something like that. What do you want Freeheld to reflect back?

Julianne: One of the things that’s interesting about The Kids Are All Right is that they were living in a different place, a major American urban center, living in Los Angeles. They were wealthy. One of the partners was a doctor. They didn’t have a whole lot of political strife within the world they were living in due to their socioeconomic status. That story is also fiction. Freeheld‘s story is true, so when you see Laurel and Stacie, they’re living in a much different world, the most politically conservative county in New Jersey. They’re living in a time before domestic partnership was even passed, and when it was passed, it came with this loophole that allowed the county officials to determine the benefits package. You see a personal story being told within a very different political world and the ramifications of those political decisions on that relationship. It’s ultimately about how the personal is political. What does inequality mean? It means you can’t keep your house. It means you’re not recognized as a partner.

You’ve both expressed how deeply moved you were by this story, as is anyone who’s familiar with it. Were there times during filming when you actually had to stop yourself from crying in scenes when you weren’t supposed to?

Ellen: I had those experiences, more when we finished takes. I felt like it could keep going, like the stuff at the hospital and when Stacie gets the notice that they’re no longer looking to cure Laurel. Obviously, I cannot even begin to understand or have any concept of what that experience is like, but out of care for these people and what they went through there were those moments. I hadn’t had that experience shooting a film before.

Julianne: I think a lot of people on set [had that experience] too. We’d look around and our first AD would be crying, our wardrobe supervisor. People were invested very personally in the story and moved by it, even when they were making it.

Ellen: I think too for gay people in particular, even the smaller things that other people might not notice, like the nuances of being in a closeted relationship, are emotional.

What sorts of things did you do for levity on-set?

Julianne: What didn’t we do? [laughs]

Ellen: She is always singing and dancing. It’ll blow your mind, honestly. She’s literally, up until action, singing and dancing. And then it’s like, “Action!” JULIANNE MOORE. “Action!” OSCAR-WINNING PERFORMANCE. We had instant chemistry.

Julianne: It’s hard to say it because it’s a true story and it’s obviously devastating, but we just got along so well and had a special time together. It was great to have somebody who was my partner on-screen and my partner off-screen. We both had the same goals, the same desires, and the same relationship to the story. [We wanted] to make it feel alive and illuminate Laurel and Stacie’s partnership. That was exciting for me because you don’t always know if you’re going to have the same goals with the actor you’re working with, and we certainly did.

Michael Shannon’s also a notorious prankster on-set.

Julianne: He would turn over Ellen’s chair! [laughs]

Ellen: There was a scene where every time I’d come back my chair was turned over. We call him “Shanny.” We never call him Michael.

Julianne, you’re coming off of a lengthy awards season where you were called upon to speak about Alzheimer’s quite frequently. Now you’re on a press tour talking about marriage equality and struggles for LGBT people. Is that daunting to be a spokesperson for these major issues?

Julianne: Hell yeah. It is daunting, and one of the things I keep saying to people is that I’m not an expert on either one of these subjects. I’m speaking as an actor and a person. You learn as much as you can. The great thing about being an actor is that it does expose you to things that you maybe wouldn’t have been exposed to. You have the opportunity to learn and do research to really figure it out and speak to what it means to you as a person. I always stress that neither one of these situations has been my experience. Like Ellen was saying earlier, you can’t presume to have been through something like this personally. But you do try to give voice to something that you have an opportunity to learn about.

You’re an icon to lesbian women worldwide.

Julianne: Right on. [To Ellen] See? I told you! [laughs]

You said you’d spoken to Ellen about playing a closeted gay woman. What have you learned about lesbian women and yourself in playing these roles?

Julianne: When Ellen was talking to me about her experience as a young woman coming out in Hollywood I was really flabbergasted, really stunned. This guy was like, “Come on. You know all these gay people.” But I said, “They’re old!” They all came out a long time ago. To talk to someone who had recently gone through it [was different]. When Ellen told me that she felt uncomfortable having to dress a certain way, I was like, “Really?” There’s always something else to learn. It’s worth it to hear about someone’s personal experience being discriminated against. You learn more by being told.

What was it like watching the movie with Stacie?

Ellen: I felt kind of concerned for her. I have an emotional experience watching the film. Usually, when you’re in a movie, you’re disconnected from it. You’re never going to feel what you felt when you made it. This movie totally effects me emotionally. It was special to have made it and after all these years be at the Toronto International Film Festival showing it. It’s really special to share the story. But my main thing was concern. I think we all feel concern and care for Stacie and just want her to be protected.

Julianne: She’s super sensitive too. One of the things that’s so interesting about Dane is that he still protects Stacie. In the beginning stages of our research he’d be on the phone saying, “Listen—she’s a very special girl. I love this girl very much and I want to make sure that she’ll be okay through all of this.” I was so touched that, here was this guy, standing sentry over Stacie still.

There’s no surer sign that awards season has begun than the arrival of a tearjerker like Freeheld. Based on a true story, the film depicts the final years of New Jersey police detective Laurel Hester’s life (she’s played by Julianne Moore), in which she falls in love with Stacie Andree (Ellen Page), is diagnosed with late-stage cancer, and is prohibited by the Ocean County, New Jersey county court to pass along her earned pension to Stacie, her legal domestic partner. Laurel’s battle for equal rights made national news, but she and Stacie remained each others’ top priority until the end.

More than anything, what Freeheld gets right is that it’s a love story from beginning to end. It’s about a remarkable relationship that held strong in the face of death and injustice, not the injustice itself. The movie is very romantic and more adorable than you’d expect. Its primary goal is to pay tribute to Laurel and Stacie rather than galvanize people to make change (though it does that too).

One criticism the film can’t avoid is that its structure is formulaic, which it absolutely is. The script, written by Philadelphia screenwriter Ron Nyswaner, doesn’t take any chances and presents the story without stylistic inflection. Director Peter Sollett doesn’t get very inventive with his visuals either, but that doesn’t mean the film is artless. The filmmaking and plot do just enough to support the performances of Moore and Page, both of which are monumental and powerful enough to make the movie a solid success.

The lead actors’ chemistry takes off immediately when Laurel and Stacie meet at a friendly volleyball game. Their attraction is obvious though Laurel is still in the closet as her high-standing position at the police station would surely be under threat should her narrow-minded brethren learn about her sex life (this all takes place in 2005, a much less LGBT-friendly time than 2015). Laurel and Stacie fall hard for one another despite the difficult, secretive nature of their romance and decide to apply for domestic partnership.

They move into a fixer-upper and are immediately visited by Laurel’s longtime police partner, Dane Wells (Michael Shannon), who sees Stacie working in the front yard and takes her for the gardener. Too much of the movie spends time using Shannon as a proxy for the LGBT uninformed though Wells’ arc is nevertheless true to life. With Laurel on the verge of getting the promotion of her life and the handy Stacie landing the perfect gig at an autoshop, life couldn’t be grander.

Tragedy strikes when Laurel gets cancer and is told she doesn’t have much time left. Naturally, she wants to arrange for her pension to be rightfully passed on to Stacie so that she won’t lose their dream house. Her wishes aren’t granted, however, by the county’s Board of Freeholders, who deny Laurel’s request. A courtroom battle turns into a gay rights demonstration when a loudmouth gay rights activist (Steve Carell) stages a takeover, filling the courtroom with fellow activists, essentially hijacking Laurel’s case in the name of gay marriage (Laurel’s compliant, but would rather the fight be in the name of equality). Dane valiantly protects the couple as well, but Stacie is laser focused on Laurel throughout, as their time left together is slim.

The movie, smartly, feels in the spirit of Stacie and her struggle to stay single-minded. This could have been an underdog courtroom drama or a plasticky prestige piece, and it does veer into those territories several times. But ultimately Freeheld is a soul-stirring romance. Page and Moore don’t just look madly in love with one another; they look super-duper cute together, and that’s the difference-maker that makes this story feel genuine. Stacie is a soft-spoken, repressed person, so when she learns that a full recovery for Laurel is an impossibility, she sinks deep into hopelessness. Page is a heartbreaker, crying in helpless disbelief rather than wailing at the top of her lungs. Moore’s tasteful as well, and she and Page ebb and flow nicely as Laurel and Stacie support each other.

Unlike the atrocious Stonewall from a few weeks back (which took a big ol’ ignorant dump on one of the biggest moments in gay rights history), Freeheld plays to both gay and straight audiences. Moore and Page are given free reign to act their asses off and do the true story justice, and while Sollett and Nyswaner won’t win any awards for their contributions, their two leads are shoe-ins for Oscar noms.

I’ll admit that the main reason I was interested in The East was due to it starring Ellen Page, though the story did also appeal to me. I had not seen Zal Batmanglij’s previous thriller, Sound of My Voice, so I went in blind in regards to his style. However, I was thoroughly impressed. The East is Batmanglij’s second Sundance release and I’d recommend almost everyone to see it, but don’t go expecting epicness as you may be disappointed, instead acknowledge that it’s a morally complex ‘we are the revolution’, gripping and profound film featuring an tremendously talented and convincing cast.

Sarah Moss (Brit Marling) is a private intelligence operative hired by a firm titled Hiller Brood. Her first big mission set by her power hungry boss (Patricia Clarkson), requires her to infiltrate an anarchist group called The East. Her main objective is to convince the members she is a genuine supporter of their movement in order to extract names, locations and their personal agendas in order to shut them down before the FBI gets involved.

To me this was a very different take on the ‘undercover special ops’ typical plot that I’ve seen previously in films – you believed Sarah’s intentions were innocent and that she was there to stop these individuals from being sent to prison, rather than exposing the group as hardened criminals. The way in which Batmanglij approached this was to study Freeganism (the practice of reclaiming and eating food that has been discarded) alongside co-writer and actress Marling as to further understand and deepen the actors that portray the anarchist’s, commitment to an anti-consumerist lifestyle. By doing so, you get a real sense of truth and dedication from the cast towards their cause, which brings to light the difficult moral choices Sarah and the audience have to make throughout the film.

Benji (Alexander Skarsgard) who is the founder of The East is very hesitant to give Sarah responsibility in the tasks that they set themselves (referred to in the film as ‘jams’). Initially, Benji does not believe Sarah is as free as they need her to be in respect to how she lives her life, and that her reasons for being around is not to support their movement. One thing leads to another and Sarah is asked by Izzy (Ellen Page – Benji’s second in command) to perform duties to help secure the successful completion of a major jam – one close to the members hearts. In order to play a part in this mission however, she is not allowed to know the details about what they will be doing, only that she has to distract a certain man. When the night is over the group commend her for her efforts. As they begin to trust Sarah they end up explaining to her what they do and why they do it.

Throughout the film The East demonstrates an outstanding ability to take you on several different emotional journeys and intense adventures. There may be a few flaws within the narrative structure, where there seem to be missing sections of information in certain scenes. In some cases this is a good thing, but here it made the film feel a little off balance. Overall, The East did not disappoint my expectations and actually exceeded my expectations on almost all accounts. I left the cinema with a thousand things to talk about and nearly all were very positive. Also, the soundtrack was amazing, something I should have mentioned earlier, but I’m saying it now!

The East trailer:

Lynn Shelton’s Touchy Feely has, so far, gathered mixed reviews and unfortunately I got to see why. I went into the film very open minded and came away feeling confused and largely disappointed. Nevertheless, there can be a lot said for the powerful depiction of energy and balance within life and relationships, something that Shelton has always done a great job with in her films.

Abby (Rosemarie DeWitt) is a massage therapist whose world is enriched with the need to find balance within all aspects of her life, and her brother Paul (Josh Pais) seems to be the complete opposite, with an uptight personality who comes across as extremely emotionally stunted.

At a dinner held at the house Paul and his daughter Jenny (Ellen Page) share, we are introduced to all the characters that the film focuses on, each with different but strong personalities and each involved within the shift of energy and balance that occurs. Paul is dental practice owner whose business is failing yet it would seem he is in denial. During the dinner Abby advises her brother to see Bronwyn (Allison Janney) who is a Reiki healer and a personal friend of hers.

From the very beginning you get a sense that Touchy Feely is about something bigger than the characters within the film and that energy and balance are two factors that will play a large part in how the story will take shape. Abby develops an aversion to bodily contact and is unable to perform the duties required of her within her profession as well as the ability to share the passion she once had with her partner (Scoot McNairy). This obviously affects her well balanced lifestyle and how she deals with her new found fear is where this film would have focused on – or so you would have assumed.

What I found confusing however, was that the individual paths the characters went down seemed to be very separate from our initial expectations of the films intentions. We presume that from the Touchy Feely poster of Abby and that the entire sequences of events that occur are related to this character’s lifestyle – that Touchy Feely is about her. Yet once the credits role, I felt that it highlighted her brothers personal progression and even his daughter Jenny’s development so much more than any other – that Abby’s final ‘realisation’ was a mere after thought. If this was what the film intended, that the whole storyline and focus would shift along with the balance of energy, then it would seem to make a lot more sense. If this were the case then Touchy Feely would have done well to spend more time on tightening this idea rather than giving Abby somewhat confusing additional storylines, for instance the five-ten minutes she experienced the drug ‘ecstasy’ seemed utterly disconnected from the film.

In A World

What a fantastic, honestly hilarious comedy. Perfect in every sense of the word, In a World defines my idea of funny. This is the directorial debut for Lake Bell, and yet you really would not know it – she brought to the table a vision and with that a solid script; which deservedly won the Waldo Salt Screenwriting Award at Sundance, Utah in January.

Carol Solomon (Lake Bell) is a struggling vocal coach, teaching actors how to speak with different accents. This is how we are introduced to Bell’s character, she receives a phone call asking if she could work with Eva Longoria to develop her cockney accent – the auditorium is in fits of laughter as we hear Longoria trying to pronounce “slapper”, just a few seconds into the film. From then on, almost every scene has you involuntarily bursting out laughing as Bell knows exactly what the audience finds funny.

Though lacking in confidence, Carol seems to get lucky in scoring her first big ‘gig’ and attempts to pursue a career in voice acting, something she has always dreamed. Her father, Sam Sotto, the reigning king of movie-trailer-voice-over artists, has never wanted her daughter to follow in his footsteps and becomes insanely jealous of her success.

Dealing with issues of sexism, Bell highlights the hardship women can face in a male dominated industry, however this is not the focal point of In a World and during a Q&A at the end, she described it as being something she wanted to include but never to force onto the audience.

In a World is a wonderfully charming and extremely witty comedic gem directed, written and starred in by Lake Bell – I look forward for its international release.

RATING: 9.5

Touchy Feely

Lynn Shelton’s Touchy Feely has, so far, gathered mixed reviews and unfortunately I got to see why. I went into the film very open minded and came away feeling confused and largely disappointed. Nevertheless, there can be a lot said for the powerful depiction of energy and balance within life and relationships, something that Shelton has always done a great job with in her films.

We presume that from the Touchy Feely poster of Abby and that the entire sequences of events that occur are related to this character’s lifestyle – that Touchy Feely is about her. Yet once the credits role, I felt that it highlighted her brothers personal progression and even his daughter Jenny’s development so much more than any other – that Abby’s final ‘realisation’ was a mere after thought. If this was what the film intended, that the whole storyline and focus would shift along with the balance of energy then it would seem to make a lot more sense.

Stick around Way Too Indie for a full review of Touchy Feely coming soon.

Reading the synopsis from Sundance Film Festival had one thinking that the second feature film from Zal Batmanglij, The East, sounded a lot like his previous film, which also featured and was co-written by Brit Marling. The film is about a person who looks to infiltrate an anarchist group, but ends up falling for its leader. That is shockingly close to the premise of Sound of My Voice, essentially swamping a cult group for an anarchist one. But an official trailer of the film was released today and judging from what is shown, The East appears to be more different than it sounds.

The cast of The East includes; Ellen Page, Alexander Skarsgård, and Brit Marling. The estimated budget of the film is 6.5 million. The film premiered yesterday at the Sundance Film Festival.

Watch the official trailer for The East:

When I saw that Drew Barrymore directed a film starring Ellen Page, I couldn’t wait to see what they would accomplish together. After being a fan of Drew Barrymore for years, and loving Ellen as Juno, my first instinct was that I would either love the film or have my hopes for something epic dashed by a poor storyline or bad supporting actors. However the screenplay, adapted from the novel Derby Girl by Shauna Cross, gave Page the perfect character to portray and a great narrative to support her. With an awesome storyline about a teenage girl fighting against her mother’s wishes to become a beauty queen by joining a roller derby team, I did have high expectations about what would be produced. I am pleased to say that Whip It did not disappoint, despite what box office figures may have said.

The film begins with Bliss Cavendar (Ellen Page) dying her hair blue while her mother (Marcia Gay Harden) waits anxiously for her to appear on stage at the latest beauty pageant she has entered Bliss into. When she finally emerges, the crowd of pageant-goers and contestants all fall silent, troubled by the sight of her. She does not seem to appear affected by the judgement she is receiving, more uncomfortable to have to endure unnecessary attention.

On a shopping trip with her mother, Bliss encounters three roller derby girls flying past her leave a flyer to promote their first match of the season. Bliss, and her best friend Pash (Alia Shawkat), eager to escape their small town drudgery, head over to Austin to witness a night of kick-ass entertainment. Confronted with a world so different from the one imposed upon her by her mother, Bliss immediately falls in love with the spectacle of roller derby; a world much more in tune with her personality than beauty pageants. Approaching Maggie Mayhem (Kristen Wiig) of the Hurl Scouts roller derby team at the end of the game, she admits that they are her “new heroes”. Maggie tells Bliss that she should try out for the team so that she can be her “own hero”.

Whip It depicts a girl struggling to break free from having to conform to her mother’s fifties female idealism, and of course Ellen Page is the perfect rebellious figure to portray such a character. With the words of Maggie Mayhem encouraging her, she attends the try-outs and successfully achieves a place on the team. At first Bliss is quite timid and doesn’t grasp that roller derby is a ‘contact sport’ – she shies away from confrontation and aggression. However, determined to be accepted as part of the team, her courage and skill improves and the team nickname her “Babe Ruthless”.

After Bliss is christened into the group her confidence to challenge the nuisances in her life almost consumes her entire personality. Nothing holds her back from telling or showing people how she feels about them. Bliss meets Oliver (Landon Pigg), the guitarist and singer for a local rock band, and falls head over heels for his musical talent and boyish charms. Her relationship with Oliver offers one of the most unique moments of beautiful choreography during the film. The happy couple dive, fully clothed, into an abandoned indoor swimming pool. Bliss and Oliver embracing underwater gave has a wonderful energy as they playfully undressed – dancing to a melody only they understand.

Despite Bliss’s awakening, her mother’s staunch idealism is ever-present and she constantly meets opposition from her parents’ due to their expectations. When her mother discovers that rather than fulfilling her own dreams as a beauty pageant queen, she has been pursuing her own dream as a roller derby pin up girl, their disapproval of her new identity as “Babe Ruthless” leaves her little choice other than to leave home. At this point, Bliss’s life goes from bad to worse; her disobedient attitude towards almost everything causes her to experience a lot of hardship.

Throughout the film, Bliss undergoes harsh realities and severe consequences for her new-found care-free attitude, but with this life experience comes comedy, friendship, and confidence building, not only for Bliss, but the audience as well as we relate to her. Page’s dry humor, first seen in Juno, is well-suited to the role and her enthusiasm makes one want to dust off those old skates and hit the streets.

Drew Barrymore has assigned Ellen Page a perfect character; Ellen defines ‘Girl With Attitude’ to the point of pure awesome and thus everything about Bliss just screams Ellen. While I don’t believe Ellen Page was typecast from Juno, there are many similarities between the two characters. Characteristics that are played to perfection by Ellen Page.

Roller derby, a sport I’d never experienced in film before, provides the perfect backdrop to this coming of age tale. Drew Barrymore and Shauna Cross’s depiction of how amazing, energetic and full of adrenaline life can be in a pair of skates is absolutely wonderful. This movie is one I will cherish, and will be added to my list of films to watch when confused about the meaning of life or how to raise my kids.