In new honors created for this milestone 50^th New York Film Festival, Oscar-winner Nicole Kidman and Festival sponsor Film Society of Lincoln Center (FSLC)’s longtime program director Richard Peña will be saluted at a galas during the Festival,  September 28 – October 14, in Alice Tully Hall. The honors were announced Wednesday by Film Society executive director Rose Kuo.

Kidman will take part in an onstage conversation at the screening of director Lee Daniels’s much-acclaimed film The Paperby, which has been added to the Festival’s Main Slate. The film co-stars Zac Efron, John Cusack, and Matthew McConaughey.

Daniels was a producer on Monster’s Ball and producer and director of the acclaimed Precious…, which was nominated for Best Picture, 2009. Of it’s six nominations, it won for Adapted Screenplay and Best Performance by an Actress in a Supporting Role, Mo’Nique..

Peña, who’s served the Festival for 25 years, is leaving his role as FSLC program director to head the Festival’s Selection Committee.

The tributes were created “to celebrate the work of those in film who’ve made significant artistic contributions to film culture in the past and will continue to do so in the future.”

In The Paperboy (Millenium Entertainment), Kidman plays the sultry fiancée of a death row inmate (Cusack). Working with a local journalist (McConaughey), she gets to know the writer’s younger brother (Efron), and the rest, as they say, is history.  The film became one of the most talked about entries at this year’s Cannes Film Festival.

“Nicole Kidman is one of our finest contemporary actresses,” says Peña, “Since her breakthrough performance in To Die For and her bold and provocative appearances in Lars Von Trier’s Dogville, Stanley Kubrick’s Eyes Wide Shut, as well as her awarding-winning portrayal of Virginia Woolf in Stephen Daldry’s The Hours [for which she received the Oscar], Nicole has insisted on finding roles that are complex, bold and demanding.”

Peña, who possesses a vast knowledge of film history as they who watch THIRTEEN’S Saturday night triple film series and who’s always accessible to media and film buffs, joined FSLC. Before long, his name became synonymous worldwide with that of the NYFF. Over the years, he’s gained immense respect across the board throughout the film industry.

Ms. Kuo noted that Peña “has guided the festival’s artistic vision. He also helped the Festival to discover such visionary directors as Pedro Almodovar, Abbas Kiarostami, Olivier Assayas, Lars Von Trier and Hou Hsiao-hsien. His contribution has been indelible.”

At the golden age of 50, the NYFF is keeping things fresh with a new Midnight Movies series with screenings of films “best experienced at the witching hour, and which will have you cringing, cheering, and shrieking.”

 General tickets for the 50th New York Film Festival go on sale September 9. For more information, visit the NYFF Tickets section of www.filmlinc.com/nyff2012.

Bargain Film Society Memberships

Join one of New York’s best movie-going programs. In honor of the 50th Anniversary of the New York Film Festival, FSLC is offering $50 memberships for a limited time. Benefits include a subscription to Film Comment magazine, bi-weekly e-newsletter, discounts from Film Society partners, merchandise discounts, concession freebies, annual cocktail party, advance ticket purchase, invites to special events, and complimentary tickets to screenings. To join, visit members@filmlinc.com or call (212) 875-5620.

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New York cinema’s big event, the Film Society of Lincoln Center’s 17-day New York Film Festival, September 28 – October 14, is known for highlighting the best in world cinema with top films from celebrated and emerging filmmakers. This year’s Festival will be quite special, since it celebrates the 50^th Anniversary. When asked what to expect, a press spokesman said, “Lots of surprises!”

The main slate will include works by notable directors that include Noah Baumbach, David Chase, Brian De Palma, Ang Lee, Sally Potter, Alain Resnais, and Robert Zemeckis.

Opening Night will debut Life of Pi [Fox 2000] from director Ang Lee [Brokeback Mountain], based on Yann Martel’s best-selling novel, a magical adventure of an Indian zookeeper’s son who finds himself in the company of motley animals, including a 450-pound Bengal tiger, after a shipwreck – legendary French actor Gérard Depardieu co-stars.
The Centerpiece gala is the semi-autobiographical Not Fade Away [Paramount Vantage] from director/writer David Chase (The Sopranos, Northern Exposure, The Rockford Files), headlining James Gandolfini and Brad Garrett, about 60s New Jersey friends forming a rock band to make it big.

Denzel Washington, John Goodman, and Don Cheadel star in the Closing Night gala,  the thriller Flight (Paramount), directed by Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit?), loosely-based on 2001’s incident of a pilot guiding a fuel-less superliner from certain crash and becoming a hero until the subsequent  investigation reveals troubling details.

Richard Peña, FSLC Program Director and NYFF Selection Committee chair, said, “This year’s films have a quality of fearlessness uniting otherwise disparate works – films that take the risk of taking audiences places they might rather not go.”

Award winners having New York premieres include the acclaimed Cannes Film Festival Palme d’Or winner Amour (Austria/France/Germany – Sony Classics), Michael Haneke’s portrait, co-starring France’s acclaimed Jean-Louis Trintignant and Isabelle Huppert, of a couple dealing with the ravages of old age; Berlin Film Festival’s Silver Bear Award for Best Director, Christian Petzold’s Cold War thriller Barbara [Germany] about a doctor, played by Nina Hoss, working in 1980s East Germany who’s banished to a country hospital; and După Dealuri (Beyond the Hills) (Romania), director Cristian Mungiu’s gripping modern exorcism tale of two former orphans, starring newcomers Cristina Flutur and Cosmina Stratan, who shared Cannes Best Actress prize.

The Film Society and NYFF receive support from American Airlines, Royal Bank of Canada, The New York Times, Stella Artois, National Endowment for the Arts, and New York State Council on the Arts.

Tickets go on sale September 9 at the NYFF box office. For information on the full line-up, schedules, special events, and panels, visit www.filmlinc.com.
Follow #filmlinc on Twitter.

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I was lucky enough to get a sneak peek at the new short film by Antonia Bogdanovich — MY LEFT HAND MAN —  starring Thomas Brodie-Sangster (Nanny McPhee, Love Actually), Andrew Howard (Limitless, upcoming “Hatfields and McCoys”), Kevin Bigley (“The Chicago Code,” “CSI: Miami”) and Erich Wildpret, who is a Latin American star. The 18-minute dramatic short screens as part of the NJ Film Fest at Rutgers on January 28th.  Although the film clocks in at under half an hour I was captivated by the beautiful mosaic of emotions Bogdanovich was able to create both as writer and director in this film.  The story is told in a straightforward, simple manner however the situation is anything but conventional.

The Emersons are a theatrical family, of sorts – one son is a street performer who recites Shakespeare while his older brother picks pockets in the crowd. Their father, a has-been thespian, spends the take on booze and ponies. But Samuel wants to make like his comic book hero The Cardinal Comet and split; and a visit from a loan shark gives Samuel a chance at freedom.

Ms. Bogdanovich graciously allowed me to pepper her with questions, both about this amazing film and the process of making it, as well as how her impressive lineage played a part in making her who she is today.  Read on as she tells me about the challenges of creating a short film, how her own rebellious youth helped her created the character of Samuel, and exactly what a “left hand man” means to her …

Antonia Bogdanovich

Antonia! I just saw your short film, MY LEFT HAND MAN, and found it incredibly compelling. In 18 minutes you manage to tell a story which provides so much back-story yet takes place in a very short span of time.

You not only directed MY LEFT HAND MAN, but wrote it as well. Where did this idea of the story come from?

Antonia Bogdanovich: The idea came from a few places. I love Shakespeare – as an actor, I studied it a bit at the Royal Academy of Dramatic Arts in London (summer program). And I have seen quite a few very good productions on stage, as well as some of or most of the films. I really relate to his work, it has such depth yet it is so accessible. The crime elements are from my own experiences….ahem… I was a bit of a juvenile delinquent – rebelling pretty hard against my upbringing. So I basically hung out with kids that stole cause they had to (their parents didn’t have enough to finance their extracurricular activities) or because they just liked the thrill of getting away with it or both.

The comic book comes from my son – who loves superheroes – but I chose comic books because I wanted it to be clear that my character couldn’t really afford cell phones or cable TV. Then it became even more important to show that their father wouldn’t really allow it even it they could afford it.

I also really wanted to write about two brothers. And what it would be like if they had to fend for themselves. My parents were away a lot working when I was growing up, and I had to figure out a lot of stuff on my own. And I love the dynamic of brothers. It’s really fascinating how close they can be, but don’t necessarily interact the way sisters do. (I have 2 sisters).

What does the title mean to you personally? And further, what do you think the title would mean to your characters – something different?

AB: The title, as you probably gathered, is a play on “my right hand man.” So the title means having someone you can depend on, but in a real backwards kind of way. You can depend on them, but you really shouldn’t. So the father depends on his kids, but he shouldn’t. The brothers depend on themselves, but they shouldn’t have to at such a young age. And in the end, they all encounter great losses because of this. So I guess the title is really about enabling and co-dependence, familiar themes I think all families contend with, but this one worse than some others.

I think to my characters the title might mean something different for each one. The father would deny it completely. The older brother would say that no one was or is his right or left hand man. And the youngest brother, Samuel (Thomas Brodie-Sangster), would probably feel the same way I do about the title. Samuel’s brother is his left hand man. He depends on him because he really doesn’t have a choice. But in the end, he only has himself to depend on. So in a way, he’s free.

MY LEFT HAND MAN will be screening as part of the New Jersey Film Fest at Rutgers. How did you become a part of that?

AB: I submitted to the New Jersey Film Festival and they accepted the film. I really thought festivals in New York and New Jersey would respond to this story so I searched festivals in that area. Fingers crossed I get into a few more!

Thomas Brodie Sangster in a scene from "My Left Hand Man"

Thomas Brodie-Sangster is utterly amazing in this film. How did he come to this role?

AB: Thomas Brodie-Sangster is unbelievable. He made me tear up a number of times on the set. And I don’t usually cry in front of people I barely know, but one time I had to literally go outside. I was so overwhelmed with his sheer, natural talent. We would really like to work together again so I pray that happens in the future. The way I found him was I called my dear friend Sean Valla to ask if he would edit my short. He was in Louisiana at the time working on a feature film, The Baytown Disco. I told him about the script and described the main character. He said, “you should check out Sangster” – who was actually working on The Baytown Disco. I asked if he were British and if he could do an American accent to which the answers were both “yes”. Then I looked him up on IMDB and almost died because he was perfect. Then, of course, I recognized him from Love Actually and Nowhere Boy. Then I got really lucky because I sent him the script and he liked it! Sean Valla did end up being my editor so I got 2 great people with one lucky phone call.

Short films can sometimes be more challenging that full-length movies which is something most people would never consider. I’m sure you had to juggle a lot of moving parts to make this film. What’s a story you could share with our readers that’s a good example of this?

AB: On the challenges of short films, three days before we started shooting we lost the actor that was supposed to play the father, Warren. He got a recurring role on a TV show so I totally understood at that time because mine was a short with no real money. Needless to say, I was panicked. We needed an English actor, etc and as you could probably tell from the quality of the acting, I wasn’t about to use a mediocre actor. So I knew if I didn’t end up recasting it with a really talented actor, I would end up cancelling the shoot. I basically “called in” my first big favor. I actually had to call a few people I knew before I really got the favor…lol. The 1st few people I called were like….”ahhh, you say it’s for a short….yeah can’t really help there.” Then someone put me in touch with Andrew Howard, who was literally between projects in Los Angeles for one week and agreed to do it. I will never forget what he did for me or for this film. He was incredible! He is so funny too, that he had everyone on set in stitches!

The film has a beautiful aesthetic – every frame carries an emotion with it. Was that intentional? Or do you just do that intuitively?

AB: As far as the aesthetic (thanks so much for the incredible compliment), I do it intuitively. But I was an amateur photographer and also dabbled in oil painting. My grandfather was a fine artist, my father has an incredible eye, and my mother was an amazing production designer so I guess you could say it’s in the genes. However, I’ve always been an extremely visual learner. So I have to give some of the credit to myself. And when I write scripts I do see every shot in my head and every location before I write it.

Antonia on set

How hard was it for you to switch between your writing persona and your directing persona to complete this film? Was there ever a moment, directing it, that you were tempted to re-write something in order to make something flow better?

AB: Funny you ask about the writing/directing persona. I actually re-wrote up until three days before we were going to shoot. I only stopped because my 1st AD was like, “we need a shooting script now so I can send it out to the crew so stop sending me new drafts!” But on set, my actors improvised a bit – mostly the foul language and some English slang. I only actually wrote one “fuck” in the script. But as I’m sure you noticed there were many many more than that, which was perfectly fine with me because it was completely authentic to the story we were telling.

You are the product of two very talented parents whose combined success in the industry is estimable. That doesn’t necessarily mean that you were going to follow in their footsteps. My dad’s an accountant and that’s the last career I would choose. Even though you are obviously talented as a writer and filmmaker you easily could have decided to do something else to be rebellious. So, my question is – taking all that into account – was this career inevitable? Or could you see yourself doing something else just as easily?

AB: My parents…yes… are a tough act to follow. Well, I started out at a very young age wanting to be a singer. I was quite good, but I had terrible stage fright so I got as far as back-up singing and a demo tape. I also worked in production right out of high school for a number of years, but never knew quite what I wanted to end up doing. At that time, I never ever considered directing. It was too much pressure, and I didn’t have the confidence. I also studied acting and booked quite a few acting gigs. But after one really bad experience – I left acting and the business for good, swearing that it wasn’t for me and decided to become a scientist – as far removed as possible

But within a year of college, I took up writing – poems, short stories, and journalism. I kept telling myself that this was a hobby and I wasn’t an artist, dammit. Even when I wrote my second screenplay, I was still telling myself the same thing. I was in complete denial. But now, I would have to say that this was truly inevitable. Though I tried very hard at other things, none of them stuck. It’s quite a relief for me to not fight it anymore. I’m truly at peace with it. I wanted so badly to do something different than my parents. I was such a rebel. But I realized at some point that I can be different than them, but still make pictures. And now I’m so proud of their accomplishments where as when I was younger, I was intimidated. I am so thankful for everything they taught me about film-making even though when I was younger I often would roll my eyes at them when they would try to teach me something. My mother knew so very much about every aspect of film-making it still boggles my mind.

As far as directing, it was much easier for me to be a writer than to admit I wanted to be a film director. After directing some theater, I actually did the short to make sure that what I really wanted to do. And, by the second day I was so sure and so comfortable being a director it was unreal. It was a true “ahh” moment. It also felt so real and so perfect for my personality. I really feel at home on a movie set – probably because I spent more time with my parents on movie sets than I did at home. Sad as that may sound, it’s true. When I see lights and cable laid across the ground it actually reminds me of the good parts of my childhood every time. And we all know how that feels when we see something from our childhood that just makes us feel comfortable. Well, that’s how it feels like for me on a movie set.

Final question – the film ends on an open-ended note of confusion, but hope too. What do you think that says about you, as a writer?

AB: Every opportunity in life brings another challenge, not necessarily an obstacle, but another choice. So Brodie-Sangster’s character, Samuel, is not quite sure where he’s going to go next. But I do have him leave the house so the audience would know he’s not going to stay “in there” figuratively or physically. I think that traumatic events are so confusing. I’ve had a few bad ones, and some of them were at a pretty young age. But if you experience tragedy, you also have to have hope that things will improve otherwise you would literally die from grief. You actually learn that things get better after going through something difficult for the first time. In other words, you learn to have “hope” that things will get better with time and space from the actual event.

So I think as a writer I will always want to leave my audience with some hope, but also with the understanding that life can be pretty confusing with its fair share of ups and downs. And when we are first confronted with something I think there is always a time where we are confused by it or don’t quite understand what is happening to us or the people around us.

~~~

Thank you, Antonia Bogdanovich, for giving us so much background on your wonderful film!

For those of you who are interested in seeing My Left Hand Man at the festival, please click here for more information.  The screening will be held January 28th starting at 7:00pm and Antonia will be making an appearance so if you read something here that you’d like to know more about, or if something about the film brings up your own questions – get yourself over there and ask away!

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The Happiest Medium Review by guest contributor Anjali Koppal .

I’ll admit it — knowing nothing about horses and not being an animal lover, the only reason I initially jumped at the prospect of watching ‘War Horse’ was the fact that it is directed by Steven Spielberg. Not ‘Executive Produced’, not ‘Presented By’, but directed. A sensitive story of friendship set against the backdrop of war torn Western Europe sounded like the kind of familiar territory Spielberg has explored and indeed mastered in the past, so I was ready for the return of the magic. I’m happy to report that the sparkle still exists, though it doesn’t quite shine as brightly as vintage Spielberg.

‘War Horse’ is the story of Joey, a majestic thoroughbred horse that is born and raised in the English countryside in the loving care of a young boy, Albert (Jeremy Irvine, simple and earnest). In the course of events, though, Joey falls into the possession, in turn, of a zealous troop of British soldiers, a desperate German contingent, and a French family trying to live in peace amongst endless warfare. Each owner comes to learn in a new way how miraculous this horse is; from its staggering speed, to its feisty resilience, to its adorable sense of mischief. And each person who comes across Joey comes to love him with an intense passion. In the four long war years of grenades and gunfire and smoke and death, Joey brings a sense of hope, happiness, and calm to these individuals.

Given that the story is based on a children’s novel, it should not be of surprise that it is rather simple and predictable. So the good remain good, and the bad remain bad (until a life changing experience changes their mind, that is). This simplicity is endearing at first but can get tiring, especially when John Williams’ wonderful, soaring score leads into a scene that is beautiful, but expected. Also, the characters are severely one dimensional, leaving no space for the cast to spread their talented wings, though each delivers a solid performance within their limitations.

The story and setting allow for plenty of slow, sweeping moments, and Spielberg takes them all. These are gorgeous, especially when seen on the big screen, but one grows weary of them eventually, especially when they slow down the story.

Spielberg is most clearly in control during the war scenes. He holds the reins on the pace of these sequences, and your muscles tense and relax as per his directorial command. Spielberg also seems back in form during the scenes where Emilie (the little French girl with the distracting accent) is interacting with Joey, though these humorous, heart warming moments are all too rare.

All in all, ‘War Horse’ is a loving saga of friendship in the time of war, that allows for the occasional lump in the throat but has a seen-that-before feel to it. If you’re an animal lover though, ‘War Horse’ is probably a perfectly warm and fuzzy way to celebrate these holidays with the family.

~~~

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Today The Happiest Medium shines the spotlight Somewhere in The Dark, in this interview with Danish filmmaker Mads Jeppesen.

“Somewhere in the Dark is an insightful cinema verite documentary that encompasses the raw undiscovered talents within a plethora of individuals and their hunt for somewhere to create and express their art through the dark and underground of New York City.  This documentary depicts the essence as to why people are drawn to this capital of the world and conveys a deep, rich and compelling insight into the people that work to realise their dreams and their passions. To strive for a destiny, or find fulfillment in the dark, this piece captures the journey and the struggle it takes to find a way when you’re somewhere in the dark.” ~ Mads Jeppesen

Mads Jeppesen

In November 2010, you came from Denmark to New York City and started filming the underground arts scene. What first brought you to the U.S.?

MJ: I came to America to work for a well-known Danish film producer. I spent much time on that project, but I ended up having some free time, and then my film project really began to grow. It started just like a little film meant for the Internet. That all changed somewhat when I met Tony Kaye, who said that my idea was brilliant! (laughs)

How is the underground arts scene in NYC different from that in Denmark?

I must admit that my curiosity for the artistic underground occurred in the U.S. We have underground artists in Denmark, but not in the same way. The widely accepted artists are paid by the state to make art. Then we have all the others. I think the biggest difference between U.S. and Denmark is that, in the U.S., if a guy wanted to make playing music a way of life, but had to work on the side, he would still call himself a musician … I just saw something here that I had to shoot. It’s crazy here. It’s truly amazing.

Tell us about your artistic vision for Somewhere in The Dark.

Well, Somewhere in The Dark is actually my first serious film project. After I got curious for the arts in NYC, I decided that I simply had to document it.

The film reflects the talent going around New York’s underground and the people who try to fight their way to the limelight, for money or just a better life. The film is also a reflection of the tendencies we see in our society where people are looking to become famous just for the fact of being famous. I would like to try to portray that as people who bring art to a different level and really have something to say.

For me the film represents something very special. It shows a very special passion and that’s the reason I have fallen in love with the environment and the city. People really pursue  it here! I love it and think it’s cool. It’s very rare we see this kind of passion in Denmark. Here we all are guaranteed an education and it is more usual to focus on that and get a 9 to 4 job afterwards.

An example from the film, as it looks now, is the focus on the acclaimed film director Tony Kaye (American History X, Detachment) and Penny Pollak, who hosts Penny’s Open Mic (UNDER St. Marks Theater). Tony and Penny are interesting because they represent two different environments with very different backgrounds, but they are both artists, expressing themselves somewhere in the dark.

Tony is a great and world known film director who is financially secure. Yet, he throws himself into completely new areas, risking more than people would imagine. He’s actually very nice and a shy gentleman who just wants to be recognized and respected for his art. Conversely, we have Penny, who is a contrast to Tony. She is super outgoing girl and an artist who doesn’t have a lot of money. She hosts Penny’s Open Mic and from there, a huge network of artists expands who all know each other and are all trying to succeed with their art for various reasons.

There’s so many people out there expressing themselves through art. I would like to interview everyone who has something to say! But the film is far from finished, and I want to come back to the U.S. for a minimum 6-months to continue filming and finish the project.

Somewhere in The Dark – CPH:DOX trailer from Mads Jeppesen on Vimeo.

You have an IndieGoGo fundraising campaign to help finish the film…

The IndieGoGo campaign is running alongside this project, and it will help us to kick start it all. If we can raise just half of the $ 18,000 goal, we can have sent me to NYC to finish filming, and it won’t be that difficult for the production company to find money to finish the film. We just have to start it up. But there is a long way to go.

God, I really hope this film will be completed. It would mean so much to me and it would really be a movie for all the people in it, and all the underground artists who struggle to have their voices heard. I really like the idea to immortalize some of these artists. Many of them are so damn talented, but let’s be honest, only a part of them will succeed. I really feel a lot of these artists deserve to be remembered for who they are and what they do. Have you seen underground artist Mike Milazzo play? Damn! Go to Penny’s Open Mic, you can hear him every Tuesday! We hear the legendary stories about such people as Bob Dylan coming to NYC all the time. We hear how they started out and became big and famous. What about the thousands of thousands of people who are struggling somewhere in the dark? It’s them we want to hear about!

You filmed Somewhere in The Dark at several open mics in NYC (Caffé Vivaldi, Lucky Jacks, Penny’s Open Mic, Pete’s Candy Store, R-Bar, Sidewalk Café, etc). What was it like filming in the open mic environment?

Frankly, I have not really experienced anything uncomfortable while shooting. I’ve focused on a few places, but the original intention of documenting what an open mic is, is no longer the goal of the film. Now I have found myself a story and that is what I’m coming back for … Well, I guess I had to cross a limit to stick the camera up in the faces of people at first, but it actually ended up being perfectly normal. I’m sure many can’t remember my face, but they can probably remember me as a lens with a very bright light on top of it! (laughs)

In addition to working on Somewhere in The Dark, you have done a few music videos. (Heidi Mattsson, Mike Milazzo, Trine Jørck Petersen) What other projects are you currently working on?

Well I’ve made some music videos before, but it’s mainly something I do to develop myself. It is not a business for me and it is more about art. I certainly don’t do it for everyone. But I really don’t have the time anymore. I’m working a lot to raise the money for the film instead. I actually found a producer at production company who wants to help me finance the film, but everything is very uncertain yet, but I think it all looks really good. There’s a very long way to go but I have never felt so confident regarding film. This might actually end up being a dream coming true.

Right now I’ve got two short documentaries in I need to do before I come back to New York. They are both already financed. One will be sold to TV if all goes well and the other is about Danish rock band who have booked me as a director to make a short documentary about them as a band, accompanied with their debut CD. But this is just small project to keep me warm. My real baby is Somewhere in The Dark.

~~~

Support Mads Jeppesen and the talented underground artists in NYC who are struggling to have their voices heard somewhere in the dark!

You can donate to the making of this film through IndieGoGo. Also, check out some of Mads Jeppesen’s videos on Vimeo, view the attention the film has already received on Danish television, and be sure to “like” Somewhere in The Dark on facebook, to show support for this project, receive more information, and keep up-to-date about the developments of this exciting film as it unfolds!

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The Thornhills of Park Avenue (L-R: Bill Connington, Anthony Haden-Guest, Juliette Bennett)

We recently wrote about Bill Connington’s success with his award winning play, Zombie (based on the novella by Joyce Carol Oates).  The short film based on the play- winner of “Best Short Film (Horror)” at the Washington D.C. International Film Festival will be shown as part of The Williamsburg International Film Festival — Knitting Factory | 9/23/2011 | 12 AM – and (if you’re down that way) at  The Atlanta Horror Film Festival in a few days on September 16.

In Zombie Connington plays a mild-mannered “normal-seeming” serial killer who abducts innocent victims and attempts to turn them into his zombie slaves.

But if that doesn’t sound like your cup of tea the versatile Connington will flex his comic muscles for you as an upscale Society investment banker trying to discover the meaning of life in the short film The Thornhills of Park Avenue.  Written by Connington the film co-stars Juliette Bennett and Anthony Haden-Guest.

“A young Park Avenue couple invites a British writer and cartoonist for cocktails. Quips and satire ensue. The story is: what is more important: money or happiness? The answer? Cocktails, apparently…”

The Thornhills of Park Avenue will be screened at the Somewhat North of Boston Film Festival (Sept 15 – 18 / Concord New Hampsire) on September 17th.

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Bill Connington Long Island Film Fest

The short film ZOMBIE will be screened on Monday, August 22 at the New York City International Film Festival. The program of shorts is at 11:35 am – 1 pm at the Abingdon Theater, 312 West 36^th Street, 2^nd floor.  ZOMBIE is the last film on that morning’s program. Tickets are $5.

ZOMBIE tells the story of a mild-mannered “normal-seeming” serial killer, who abducts innocent victims, and attempts to turn them into his “zombie” slaves. The stage play was presented at the New York International Fringe Festival, Off-Broadway at Theater Row for an extended run, and at the Gerald W. Lynch Theater in New York. It was also recently performed in Seattle, and a production is planned for Mexico City.

ZOMBIE is based on the award-winning novella by famous American author Joyce Carol Oates. Bill Connington garnered numerous awards when he adapted the novella into a solo play, and performed it at The New York International Fringe Festival, and twice Off-Broadway. The film recently won “Best Short Film (Horror)” at the Washington DC International Film Festival.

Upcoming film festivals where the film will also be shown include The Williamsburg International Film Festival — date to be announced  – and The Atlanta Horror Film Festival on September 16.

The award-winning ZOMBIE was directed by noted filmmaker Thomas Caruso; the screenplay was penned by Connington, who also stars in the film. The Director of Photography was Trisha Solyn, the producer was Michael Cooper, and the composer was Deirdre Broderick, who also wrote the music for the stage play ZOMBIE.

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After leaving a screening of Black Swan, I, undoubtedly along with the rest of the audience, felt moved and disturbed by Darren Aronofsky’s new ballet thriller BLACK SWAN. A creative masterpiece yet again from the mastermind who brought us heart wrenching reality films like Requiem for a Dream and 2008′s The Wrestler.  However, this is Aronofsky at his absolute best.

The film, at the center of it all, is about what performers sacrifice to make great art. Everything else around it falls into place to tell this story with tragic, and logical detail. Nina (Natalie Portman) is a ballerina inside the exclusive world of dance in New York City. She lives with her overprotective mother (Barbara Hershey) and is so innocent and virginal, she is perfect for the role of the upcoming revised version of “Swan Lake”, creatively directed by Thomas Leroy (Vincent Cassel). As she is cast in the role of the White Swan, her inability to let go and tap into her darker self to also dance the counter part of the Black Swan, begins to take its toll. At first, we understand this business of ballet is so strenuous and rigorous it is just constant pressure. However, as the film unwraps we realize Nina is losing her sanity, all the while dancing the Black Swan better and better. Added into the mix is new company member Lily (Mila Kunis) who is the opposite of Nina, carefree, free spirited, and wild. As Nina becomes unhinged and paranoid, she thinks Lily is here to take her role, and her love interest.  She also begins to see her face in other women, and has fantisies about self mutilation.

The amount of talent Aronofsky and his team have in creating this visual masterpiece is particulary fantastic. The sound is so claustrophobic, surrounding Nina and her mind, trapping them inside. The director also follows closely the very accurate demanding physicality of ballet; torn ligaments, bloodied feet, the stress, and the grueling schedule.

Black Swan is a film that will stick with you. It will, like the visuals Nina begins to hallucinate in her mind, manifest inside you, long after you have left the theater, and will make you think. The film’s ultimate tragic climax and simple tale of what a performer does for their art will haunt you undoubtedly, long after the film has finished, and the credits have rolled.

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One of the very cool things about this series is that each month they randomly pick an audience member to star in a film to be shown the following month at Iron Mule. So if you’ve been sitting around waiting for your star turn, your odds will be significantly increased just by sitting in this audience.  What else do you have to do on December 4th?

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The Happiest Medium welcomes our friends, fellow reviewers tinseltownspeople “Lazy weekend adventures in the land of make-believe… ”

Today they give us their take on Johnnie To’s  2007 film Mad Detective . . .

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Crazy, Awesome, and Crazy Awesome…

Few films delve into the human psyche with the incisive wit and stylistic panache on display in veteran Hong Kong crime auteur Johnny To’s ‘Mad Detective’. The film is a perfect example of that characteristic mix of dark humor and sublime beauty that Asian directors like To, and his other overseas counterparts like Chan Wook Park and Takeshi Miike, bring to the business of film-making.

To read the rest of their review, click on over to their site . . .

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