Erik and Anna are a professional couple with a dream. Along with their daughter Freja, they set up a commune in Erik’s huge villa in the upmarket district of Copenhagen. With the family in the center of the story, we are invited into the dream of a real commune; we participate in the house meetings, dinners and parties. It is friendship, love and togetherness under one roof until an earth-shattering love affair puts the community and the commune to its greatest test.
Cast: Trine Dyrholm, Ulrich Thomsen, Helene Reingaard Neumann, Lars Ranthe and Fares Fares Directed by: Thomas Vinterberg Written by: Tobias Lindholm Produced by: Sisse Graum Jørgensen, Morten Kaufmann
Chris Burden guaranteed his place in art history in 1971 with a period of often dangerous and at times stomach-churning performances. After having himself shot, locked up in a locker for five days, electrocuted, and crucified on the back of a VW bug, Burden reinvented himself as the creator of truly mesmerizing installations and sculptures, from a suspended gigantic flywheel that seemingly spins on its own, to an assemblage of antique streetlights rewired for solar energy and illuminated outside the Los Angeles County Museum of Art. In BURDEN, Timothy Marrinan and Richard Dewey look at the artist’s works and private life with an innovative mix of still-potent videos of his 70s performances, personal videos and audio recordings, friends, fellows students and colleagues, critics' comments and latter day footage at his Topanga Canyon studio, all peppered with his thoughts and musings through the years.
Starring Chris Burden
Alive and Kicking
Alive & Kicking gives the audience an intimate, insider’s view into the culture of the current swing dance world while shedding light on issues facing modern society. No matter what troubles they are facing in their lives, swing dancers are filled with joy, exhilaration, and even giddiness while they dance. Boiled down to its core, swing dancing is about the pursuit of happiness. Most people think of happiness as a passive emotion: if something good happens, I will be happy. But we all have the ability to feel joy despite the worst of circumstances once we realize that happiness exists inside of us.
Directed by: Susan Glatzer
Written by: Susan Glatzer Heidi Zimmerman
Produced by: Susan Glatzer
Shot! The Psycho-Spiritual Mantra of Rock
SHOT! THE PSYCHO-SPIRTUAL MANTRA OF ROCK Is a deep look into the mind of one of rock’s greatest living photographers: Mick Rock. Rock’s work with some of the most accomplished personalities of the past forty years - David Bowie, Queen, Blondie, Lou Reed and Iggy Pop - created many of the images that would come to define them. Presented in his own words, Rock takes us through his journey from the glam rock shimmer of London, through the snarl of NYC punk and into the new millennium, combining a portrait of the man who did the work, with a look at what the work did to the man.
Cast: Mick Rock Directed by: Barnaby Clay Produced by: Monica Hampton, Sal Scamardo, Marisa Polvino, Jim Czarnecki and Danny Gabai
Cézanne et Moi
Cezanne et Moi traces the parallel paths of the lives, careers and passionate friendship of post-impressionist painter Paul Cezanne and novelist Emile Zola. The two boys grew up in Aix-en-Provence. Emile was fatherless and poor. Paul came from a wealthy family. As young men, dreaming of glory and beautiful women, they left the south to conquer the art scene in Paris. Soon Emile had it all, success, money, and the perfect wife, and embraced the very bourgeoisie he mocked in his books. Meanwhile, Cezanne rejected the Parisian scene to focus only on his work, ignored by his peers and the establishment.
My Scientology Movie
‘I find that the most inexplicable behavior is motivated by very relatable human impulses,’ comments Louis Theroux as he heads to Los Angeles for his feature documentary, in collaboration with director John Dower and double Academy Award winning producer Simon Chinn, exploring the Church of Scientology. Following a long fascination with the religion and with much experience in dealing with eccentric, unpalatable and unexpected human behavior, the beguilingly unassuming Theroux won’t take no for an answer when his request to enter the Church’s headquarters is turned down. Inspired by the Church’s use of filming techniques, and aided by ex-members of the organization, Theroux uses actors to replay some incidents people claim they experienced as members in an attempt to better understand the way it operates. In a bizarre twist, it becomes clear that the Church is also making a film about Louis Theroux. Suffused with a good dose of humor and moments worthy of a Hollywood script, MY SCIENTOLOGY MOVIE is stranger than fiction.
XX is a new all-female helmed horror anthology featuring four dark tales written and directed by fiercely talented women: Annie Clark (St. Vincent) rocks her directorial debut with THE BIRTHDAY PARTY; Karyn Kusama (THE INVITATION, GIRLFIGHT) exorcises HER ONLY LIVING SON; Roxanne Benjamin (SOUTHBOUND) screams DON’T FALL; and Jovanka Vuckovic (THE CAPTURED BIRD) dares to open THE BOX. Award-winning animator Sofia Carrillo (LA CASA TRISTE) wraps together four suspenseful stories of terror featuring a cast including Natalie Brown, Melanie Lynskey, Breeda Wool and Christina Kirk.
I AM NOT YOUR NEGRO
In his new film, director Raoul Peck envisions the book James Baldwin never finished - a radical narration about race in America, using the writer’s original words. He draws upon James Baldwin’s notes on the lives and assassinations of Medgar Evers, Malcolm X, and Martin Luther King Jr to explore and bring a fresh and radical perspective to the current racial narrative in America.
Directed by: Raoul Peck
Peter and the Farm
Peter Dunning is a rugged individualist in the extreme, a hard-drinking loner and former artist who has burned bridges with his wives and children and whose only company, even on harsh winter nights, are the sheep, cows, and pigs he tends on his Vermont farm. Peter is also one of the most complicated, sympathetic documentary subjects to come along in some time, a product of the 1960s counterculture whose poetic idealism has since soured. For all his candor, he slips into drunken self-destructive habits, cursing the splendors of a pastoral landscape that he has spent decades nurturing. Imbued with an aching tenderness, Tony Stone’s documentary is both haunting and heartbreaking, a mosaic of its singular subject’s transitory memories and reflections—however funny, tragic, or angry they may be.