Film Writers (and Quite Possibly Guy Maddin) to Appear at KGB Next Month for Book Reading

Here's some really interesting news sent my way from Ray Privett, President of Cinema Purgatorio and General Manager of Queensbridge Theater. Ray sent me an email about a reading and book party at the KGB Complex on June 11 where film writers Michael Atkinson, Ed Halter, B. Kite, Stuart Klawans, and David Sterritt are expected to participate, and also quite possibly filmmaker Guy Maddin.

Here's Ray's note:

A few years ago a lot changed at the Village Voice, including in the film section. Soon after the Phoenix-based New Times chain purchased the paper in late 2006, the section could no longer find space for such longtime contributors as Michael Atkinson; New Times fired longtime section editor Dennis Lim soon thereafter, along with many other familiar Voice bylines.

Read on here.

IndieGoGo Teams with IFP During Internet Week NY in June

I received the announcement below from InieGoGo today about its new partnership with IFP. In March, The Film Panel Notetaker reported that the film The Lilliput had raised approximately $10,000 through IndieGoGo.com. Since then, six films have raised approximately $50,000 through IndieGoGo. Now IndieGoGo is teaming with IFP during Internet Week NY in June that includes a panel discussion with digital filmmakers and Internet pioneers at the Apple Soho store on June 8th at 3:00 pm.

INDIEGOGO BRINGS “DIWO” TO IFP INDEPENDENT FILMMAKER LABS AND INTERNET WEEK NY

Six Projects Find Fundraising Success on Online Social Marketplace for Filmmakers and Fans
Berkeley, California, May 7, 2008—IndieGoGo, the online social marketplace that connects filmmakers and fans to make more independent film happen, announced the Independent Feature Project (IFP) as a new addition to its partnership network. IndieGoGo and IFP kicked off their collaboration this week with a seminar at the IFP Documentary Filmmaker Lab discussing DIWO-(Do-It-With-Others) filmmaking and the online trends affecting film financing, production and distribution. Since launching in January, six projects have successfully used IndieGoGo to raise funds and IndieGoGo has become home for 260 projects, thousands of visitors, and nearly $50,000 in fan contributions.

“IFP has helped to find and cultivate some of independent film’s top talents. Their programs and IndieGoGo’s tools are an exciting combination for emerging filmmakers”, said Slava Rubin, IndieGoGo Founder and Chief of Strategy and Marketing.

IFP is a 30-year old membership organization which has supported 7,000 films and engaged more than 20,000 filmmakers in its activities, including Michael Moore, Kevin Smith, John Sayles, Spike Lee, Mira Nair and others. Annually it fosters the development of 200 feature and documentary films through Independent Film Week and its Labs; offers educational seminars and mentorship in the art, technology and business of independent filmmaking; publishes Filmmaker Magazine; and celebrates independent films with the Gotham Awards.

“No one makes an independent film on their own,” says IFP Executive Director Michelle Byrd. “IndieGoGo has been immensely proactive in reaching out to the indie community with their DIWO message and we’re pleased to partner with them on our Independent Filmmaker Labs and Internet Week NY.”

IndieGoGo and IFP will be participating in Internet Week NY, June 3-10, 2008, hosting a series of events under the banner, Where Internet & Film Collide. “Best of the Internet” will be presented at the IFC Center on June 5th at 7:30pm, a panel discussion with digital filmmakers and Internet pioneers will be at the Apple Soho store on June 8th at 3:00 pm, and a party celebrating the collision of Internet and Film will commence later that evening at Chinatown Brasserie.

8th Annual Screenwriter's Lab In Hamptons Announced

The Hamptons International Film Festival announced today that it will host its 8th annual Screenwriters’ Lab co-sponsored by the Alfred P. Sloan Foundation this May 9-11 in East Hampton. Last fall, I sat in on the screenplay reading of Caitlin McCarthy's Wonder Drug during the 2007 HIFF. Looks like a great group of screenwriters have been selected for this Lab coming up this weekend. Coincidentally, I've been to a couple of screenplay readings in the last few weeks. First was Jay Paramsothy's and Catherine Torphy's The Emperor Has Arrived on April 21 and next up was Leah Meyerhoff's Unicorns on May 1. If anyone has any more screenplay reading announcements that will take place in and around New York, please send them my way.

More from the HIFF Screenwriter's Lab announcement below:

The Hamptons International Film Festival will host its 8th annual Screenwriters’ Lab cosponsored by the Alfred P. Sloan Foundation this May 9-11 in East Hampton. Over the course of one long weekend, emerging screenwriters will benefit from the expert tutelage of seasoned mentors who will advise them on how best to revise their scripts in preparation for production.

During the lab in the Hamptons, our emerging screenwriters will have the opportunity to meet one-on-one each day with established screenwriting mentors who will advise them on how to develop their scripts. Within this intimate environment, our screenwriters are encouraged to take risks and discover new possibilities for their projects. Participants also attend group discussions over meals, while evening events bring them together with board members, sponsors, the local artistic community, and other friends of the Festival.

Following the lab, The Hamptons will assist writers in making contact with friends of the Festival, including industry producers, agents, and development executives, and continue to support the writers as they revise their scripts. We will hold screenplay readings and eventually invite films developed at the Screenwriters' Lab to screen at the Hamptons Film Festival. This process allows the Lab in conjunction with the Festival to establish a community and ongoing support structure that develops and promotes diverse voices, artistic ambitions, and the audiences that rejoice in both.

“The Screenwriters’ Lab consistently provides one of the most exciting and fulfilling aspects of the Hamptons’ year-round activities,” states Director of Programming David Nugent. “The level of talent from both the writers and mentors is outstanding and the weekend is always a highly charged forum of ideas, creativity, discussions and great work. As always it is a pleasure partnering with the Alfred P. Sloan Foundation. The Alfred P. Sloan Foundation Feature Film Prize in Science and Technology originated at the Hamptons. With the Screenwriters’ Lab, we have established a year-round collaboration supporting selected filmmakers who turn their narrative talents to the realm of science and technology and explore those themes in fresh, innovative ways and depict scientists and engineers in a realistic and compelling fashion.”

Our 2008 Lab Participants, Screenplays and Project Descriptions:

1) ALEX R. JOHNSON - LA SOBRINA
Cookie Rodriguez had just started driving the night shift for a Brooklyn car service when her niece turns up dead in the Williamsburg waterfront. Frustrated with the police investigation, she starts one of her own and finds that her niece was caught up in a corrupt world of gentrification, bribery, and Brooklyn real estate.

2) JAMES PONSOLDT - REFRESH, REFRESHThree teenaged sons of Marine reservists fighting a distant war must prove to themselves their worth as men. In measures of heartbreak, brutality, and humor, REFRESH, REFRESH takes an honest, unflinching look at the unforeseen repercussions of violence and how we inherit a war at home.

3) BRADFORD TATUM - BOOK OF WATER
BOOK OF WATER combines historical fact with a vibrant magical realist style to tell the story of the life of Leonardo da Vinci. An Alfred P. Sloan supported script.

4) AVI WEIDER - ZEROES AND ONES
In creating an intelligent machine out of discarded computer parts, a young woman uncovers her grandmother's long-buried secret of her survival from Auschwitz and finds a release from her own haunting memories. An Alfred P. Sloan supported script.

2008 Screenwriters’ Lab Mentors Are:

1) MARIA MAGGENTI (filmmaker/screenwriter) Maria Maggenti began her career in 1995 as writer/director of THE INCREDIBLY TRUE ADVENTURE OF TWO GIRLS IN LOVE. Her second feature film, PUCCINI FOR BEGINNERS, produced by InDigEnt premiered in competition at Sundance in January 2006 and was released by Strand Releasing in February 2007. In January 2007 she was one of five filmmakers selected for the Sundance Global Short Film Project for the GSM Congress in Barcelona, Spain. Maggenti recently sold “The Beard”, a half-hour single camera comedy series to Showtime. She has also adapted Jane Green’s bestseller “Jemima J.” for Lifetime Television, and spent three seasons as a writer on the hit CBS/Bruckheimer drama “Without A Trace”. Maggenti received her MFA in filmmaking from the NYU Graduate Film Institute and received her undergraduate degree in Philosophy & Classics from Smith College. In 2001-02 she was an adjunct professor of feature screenwriting at the NYU Graduate Film Institute.

2) IRA SACHS (Ira Sachs is a filmmaker living in New York City. His most recent film, MARRIED LIFE, starring Rachel McAdams, Chris Cooper, Pierce Brosnan and Patricia Clarkson was produced by Sidney Kimmel Entertainment and Anonymous Content and was released by Sony Pictures Classics in March 2008. MARRIED LIFE screened at the 2007 Toronto and New York Film Festivals. His previous film, FORTY SHADES OF BLUE, starring Rip Torn, received the Grand Jury Prize at the 2005 Sundance Film Festival. In 1999, Sachs was given a Rockefeller Foundation Fellowship. His first feature, THE DELTA, was released theatrically in 1997 by Strand Releasing, after screening at the Sundance, Toronto, and Rotterdam Film Festivals.

3) JEFFREY SHARP (producer) Jeffrey Sharp, President and CEO of Sharp Independent, has produced numerous feature films, including BOYS DON’T CRY (1999), YOU CAN COUNT ON ME (2000), and PROOF (2005). Those adapted from books include NICHOLAS NICKLEBY (2002) adapted from the novel by Charles Dickens, A HOME AT THE END OF THE WORLD (2003) adapted by Michael Cunningham from his novel, THE NIGHT LISTENER (2006) adapted by Armistead Maupin from his novel, and EVENING (2007) adapted from Susan Minot's novel by Michael Cunningham and Susan Minot. Sharp Independent recently partnered with HarperCollins to develop and produce feature films from the publishers’ vast list of book titles. This partnership is called Sharp Independent at HarperCollins. Jeff holds an MFA from Columbia University and a BA from Colgate University.

4) WHIT STILLMAN (writer/director/producer) Whit Stillman is a former journalist and fiction writer who in the 90s came out with three films on “doomed” bourgeois youth – METROPOLITAN, BARCELONA and THE LAST DAYS OF DISCO. Taking the characters from the latter and extending their story, he wrote the S.F. Chronicle bestselling novel “The Last Days of Disco, with Cocktails at Petrossian Afterwards” (Farrar, Straus), winner of the first and last “Nightlife Literature Award.” Since 1998 he’s lived in Europe writing the scripts for a cycle of films on foreign subjects.

The Hamptons International Film Festival was founded to celebrate the American Independent film - long, short, narrative and documentary - and to introduce a unique and varied spectrum of international films and filmmakers to our audiences. The festival is committed to exhibiting films that express fresh voices and differing global perspectives, with the hope that these programs will enlighten audiences, provide invaluable exposure for filmmakers and present inspired entertainment for all.

The Sixteenth Annual Hamptons International Film Festival will be held Wednesday, October 15 through Sunday, October 19, 2008.

Tribeca Film Festival - Lou Reed's Berlin - May 4, 2008

Tribeca Film Festival
Conversations in Cinema – Celebrating Berlin
Directors Guild Theater
May 4, 2008

Sunday marked the last day of the 2008 Tribeca Film Festival and my final Conversation in Cinema I attended, Celebrating Berlin – a discussion lead by Vanity Fair’s Lisa Robinson with rock musician Lou Reed and Academy-Award nominated director Julian Schnabel (The Diving Bell and the Butterfly) whose documentary, Lou Reed’s Berlin, made its New York premiere. The film opens in limited release at New York’s Film Forum and NuArt Theatre in Los Angeles on July 18. Tribeca Film Festival Co-Founder Jane Rosenthal introduced the film saying, “This has been a really long 13 days, but what a better way to end our festival.” This was my first true foray into the music of Reed. I was only familiar with his song “Walk on the Wild Side,” and many friends over the years have mentioned how brilliant a song writer and performer he is, but for some reason I never really had the chance to sit down and listen to an album or watch one of his performances until Sunday. I found the music to be absolutely riveting and the lyrics profound, though he seems to have more of a spoken-word component to his vocals, rather than just pure singing, which I understand because the lyrics are very poetic in nature, but just took me a bit to get used to hearing up against such a vibrant sound.

After the film, which was met with much applause from the audience, Robinson asked Reed and Schnabel how they came to collaborate on this film. Schnabel responded that he felt a responsibility to do it. He had heard the record back in 1973 when it came out and it made a huge impact on him before he ever knew Reed. When making The Diving Bell and the Butterfly, Susan Feldman asked him if he would direct a staging of Berlin at St. Ann’s Warehouse in Brooklyn. But since he was busy directing another film, she asked him if he would at least design the sets. Schnabel had some 18th century Chinese prints and blew them up and also some photos of a hotel with greenish walls. There was no money for the art. The budget was $16,000. He couldn’t stretch the canvas for that. But Schnabel acknowledged two people sitting in the audience who contributed their own film work to Berlin – the first being his daughter Lola, who he said shot all the good stuff in the film (with actress Emmanuelle Seigner as the character Caroline whom Reed’s songs in Berlin follow the story of), and the second being his brother-in-law, who shot the sequence with stuff flying around in a fish tank.

Robinson noted the great sound heard in the film and asked how they achieved it. Giving props to John Harris for the sound, Reed said he had never heard rock sound so good in a movie before. It usually sounds disjointed and he didn’t want to get volume dependent. He just wanted to get the tone.

When asked by Robinson why Reed chose Schnabel to direct this film, Reed responded that he asked Schnabel to at least do the sets, but Schnabel told him how could he do the sets without directing it, too? Schnabel brought in cinematographer Ellen Kuras, who Reed called fantastic. Schnabel said he didn’t want there to be any fancy filming with cranes. He invited an audience and told them there would be a camera person on stage who would be shooting the performance.

Robinson mentioned that Susan Robinson had brought Berlin to St. Ann’s Warehouse. Reed commented that Robinson had always wanted him to stage Berlin there. Schnabel elaborated saying that he thought Reed had a really bad experience with Berlin a long time ago and he was absolutely sure if people hear this anytime, it would be relevant. Reed hadn’t played this ever before in public.

Robinson asked Reed if there was a luxury in doing this more than 30 years after the album was released. Reed said he wasn’t even going to do this and that Schnabel knew the record better than him. Schnabel added that what’s in the film is the first time Reed played Berlin, which he eventually went on to play other performances of throughout Europe. What’s interesting about the first time he played it, it was like watching Christopher Walken performing open-heart surgery on himself, he said. Schnabel noted that Reed lives across the street from him and asked Reed to come look at his daughter’s and brother-in-law’s films. Reed said it was serendipity the way these films matched his music. The sensitivities were just so similar, he said.

One song performed toward the end of Berlin was “Rock Minuet,” that’s not in the original record. Robinson asked Reed if he felt he could have made that song back then. Reed said he could have done it then, but Schnabel said he asked Reed to do it for the film. Reed said Schnabel really loved that song, which is kind of visual and Schnabel thought it was kind of an anthem like “Walk in the Wild Side” was.

Robinson opened the discussion to the audience. One audience member asked Reed what he thought about music critic Lester Banks’ original comments on the Berlin record back in 1973 that it was “the most depressed record ever made,” to which Reed replied, “I don’t have any thoughts on Lester Banks’ comments.”

Reed was also asked by another audience member if there was anything in the film that surprised him about his performance when he saw it. Reed said in the old days, he used to wear sunglasses on stage, but now he can’t wear them or he’ll trip over the cables. He said the performance is what it is and that he wanted to write these monologues for himself because he likes acting. Schnabel also said there’s a level of trust that Reed has had to endure. Things have happened to him in his life that have probably been dissatisfying to him.

When asked what the production and rehearsal process was like, Reed said they didn’t have very much time. “We were on the seat of our pants,” Schnabel said. The concert footage was shot in three days. Lola’s film was shot in four days. The editing took approximately four months.

Schnabel called his film sort of a hybrid. It’s not just a concert movie. To him, it was making a portrait of Reed whom he loved. That was his intention. Reed concluded by saying for him it was "an amalgam of when a woman does a certain thing to you, you end up with Berlin.”

Where in the world is Leonardo DiCaprio?

Naomi Campbell is honored with an IREO Diamond Award at the United Nations on May 2.

Supermodels, a billionheiress, a music executive and...a movie star? They are not the cast of the new Gilligan's Island. They are among the attendees (and one non-attendee) at last night's International Renewable Energy Organization (IREO) Diamond Awards for Renewable Energy presented by Paolo Zampolli and The Friends of Climate Change at the United Nations in New York.

I would like to thank Kahraman Halisçelik of Kanalturk (a news organization from Turkey) for inviting me to this ceremony. I met Kahraman earlier this week at the International Filmmaker Press Meet & Greet at the Tribeca Film Festival. I was intrigued by this event for several reasons. First, I am always interested in learning about ways to sustain our environment through renewable resources. Second, I had never been to the U.N. before. And third, the invitation mentioned that Leonardo DiCaprio would be amongst the guests. Alas, Leonardo did not make it to the reception. Low and behold this morning, I finally found Leo down at the Tribeca Film Festival Family Street Fair, though it was only a realistic looking wax sculpture of the actor courtesy of Madam Tussauds.

Fans adorn Leonardo DiCaprio's wax sculpture at the Tribeca Film Festival Family Street Fair on May 3.

Supermodels and Goodwill Ambassadors Naomi Campbell and Petra Nemcova were among the honorees at last night's awards, along with Roc-A-Fella Records Co-Founder Damon Dash. Also spotted was Ivanka Trump.

As I was leaving the event last night, I met Jeffrey Rodman, owner of the Water Street Restaurant in Brooklyn's DUMBO neighborhood. Jeffrey mentioned to me that his restaurant had been rented out during the shoot of the environmental documentary The 11th Hour, which DiCaprio narrates.

More pictures from the IREO Diamond Awards can be found here.

Tribeca Film Festival - Behind the Screens - "Confessionsofa Ex-Doofus-ItchyFooted Mutha" - May 1, 2008

Tribeca Film Festival
Behind the Screens – Confessionsofa Ex-Doofus-ItchyFooted Mutha
Directors Guild Theater
May 1, 2008

Legendary independent filmmaker Melvin Van Peebles (Sweet Sweetback's Baadasssss Song) participated in a discussion lead by film producer and DVRepublic Founder Warrington Hudlin during the 2008 Tribeca Film Festival after a screening of Confessionsofa Ex-Doofus-ItchyFooted Mutha, written and directed by Van Peebles. Confessionsofa “chronicles the adventures of a man who, armed only with a can of contingency cash, swims his way to New York, joins the merchant marine, romances women of all ages (and an amorous gorilla), and dances for his life in the court of Zampoughi.”

Before the screening of Confessionsofa, Tribeca programmer Aaron Dobbs welcomed Van Peebles to the stage. The always humorous and candid Van Peebles laid out some ground rules to the audience saying “laugh a lot” and “white folks don’t have to be scared or nothing.”

Confessionsofa has been my favorite film I've seen so far at Tribeca. It's hard to put a finger on exactly how to describe this film. It's sort of an epic low-budget experimental comedy musical filled with Van Peebles's trademark charm and bravado, but with less of a political message than previous works.

At the conclusion of the film, festival volunteers collected ballots from the audience for the Cadillac Award. Dobbs then welcomed back Van Peebles to the stage along with Hudlin. This is the second time this year I’ve been to a discussion that Hudlin moderated. The first was back in February at a Tribute to St. Clair Bourne at the Museum of the Moving Image, which Van Peebles also attended. Hudlin’s moderating style remained the same, that being of a more participatory nature by allowing members of the audience to jump in anytime.

Hudlin: Other black filmmakers stand on the shoulders of Van Peebles who literally founded black cinema. You paved the way, but how did you find your own way?

Van Peebles: I’m known somewhat as a fighter. People ask me, how did you know you could beat this guy? I didn’t know. A courageous person is never without arms.

Hudlin: You went ahead and did it your way. What is your creative process?

Van Peebles: In an old Mad Magazine, there was a section called “Things you’d like to see in the movies.” I just make the things I’d like to see. I don’t try to be clever about it. I just try to say what I have in mind. If something’s funny to me, how can I put that funniness in cinema?

Hudlin: In both Sweetback and Confessionsofa, there seems to be this character off camera. What resonates with you in having this character?

Van Peebles: This makes me think of a funny situation. [Before Van Peebles continued to answer, he asks his cast & crew to stand.] Momma told me to praise the bridge you stood on. Paul, my second assistant editor, a young white man from Minnesota who doesn’t have a lot of ‘hood in him, called me the other day. I told him to add in a lot of “um hmm” into the film. I just put in what I’m thinking. This movie was on a constraint with finances. I thought it would be easier to do the music first. Music is an integral part of the story. I find it interesting to let people see the trajectory and evolution of it. My choice is not me, but clarity for the subject.

Hudlin: A lot of your film’s titles allude to the anatomy. Is this a coincidence?

Van Peebles: The title explains the story. The memoirs of a wanderlust…let’s translate that to Confessionsofa Ex-Doofus-ItchyFooted Mutha. I like the iambic pentameter and the cadence of it. A question I often get is what is the message? There are a lot of subliminal messages. People will pick them up at different levels in their life.

Audience Question: Why does the opening title sequence give credit to the Diaspora?

Van Peebles: A zillion people helped me make this movie and they’re not all on camera. I wanted to do a shout out to those folks. I had a huge amount of assistance all over the world.

Audience Question: Where are we now in terms of black cinema?

Van Peebles: I am pretty much a loner and a maverick. What I wanted to do was no just open the door for black cinema, but for all independent cinema.

Audience Question: Was the sex scene with you and the character Rita uncomfortable?

Van Peebles: I liked it. When you shoot sex scenes, there are always problems like; I have to make sure the lighting is right. When I made Sweetback, I caught the clap, but that’s beside the point.

Audience Question: How long did it take you to do this project?

Van Peebles: 75 years, duh!

Audience Question: How did you use technology to paint this film?

Van Peebles: The credits at the end say “edited and painted by.” It’s like a painting to me. I started as a painter and sculptor. The texture, color and shading tell the story subliminally. All these tools are there. Why fight a battle with one hand? You have a zillion hands. People don’t use them.

Audience Question: What were some of the challenges in making Confessionsofa versus Sweetback?

Van Peebles: This technically was much more ambitious than Sweetback. This time I didn’t have to carry a gun. Everything was a challenge.

Audience Question: How did you go about casting? Has your process changed since Sweetback?

Van Peebles: No, sometimes you cast people for their experience and sometimes for plasticity. Sometimes you take a person who doesn’t have acting experience, but they can play for the character.

Audience Question: Why did you premiere Confessionsofa at Tribeca?

Van Peebles: Tribeca is in New York and I’m lazy. Tribeca is a great vessel. Jane Rosenthal and Robert De Niro funded Panther when no one else would.

Hudlin: Tribeca has a sense of mission of international diversity that’s distinct from other festivals. Peter Scarlet (Artistic Director) really gets that we’re a world community. As Tribeca continues to grow and mature, it will be a premiere festival.

Audience Question: When will you make your next film?

Van Peebles: That’s dangerous. I open the door and all these ideas come out, so I slam the door shut. I’m hoping to make my novel The True American as a film next. I’m harnessed by the finances. Confessionsofa had no financers or distributors. I wanted this film to be made this way. When I sell it, then I’ll do another one.

Audience Question: Have you developed a strategy to get past constraints?

Van Peebles: My strategy is not a single way. I started off writing. The great advantage of writing is it’s not that expensive. As a writer, I didn’t know why people were so difficult with me when I pitched it to them. Learn your craft so you can do what you have to do and how to manipulate your media, then make it within the confines of your budget.

Hudlin: If you watch what he does, there’s a DNA in his work. He takes people that are off camera and takes them on a journey. He lets black people win. Sweetback is a perfect example. He fights the power and prevails. That’s the lesson we as filmmakers have to take.

Unicorns Spotted At NYU's Tisch School

Leah Meyerhoff and cast of Unicorns staged reading at NYU's Tisch School.

Last night at NYU's Tisch School of the Arts, Leah Meyerhoff's 2008 Sundance Screenwriters Lab finalist Unicorns was performed during a staged reading presented by the Chairs Workshop. Unicorns tells the story of an awkward teenage girl who escapes to a fantasy world when her first romantic relationship turns increasingly abusive. You might have first heard about Unicorns here on The Film Panel Notetaker when I interviewed Leah last month. It was a great pleasure to see Unicorns read aloud last night by a talented group of actors.


Unicorns, expected to begin production this summer in Idaho, is being executive produced by Allison Anders (Gas, Food, Lodging) and produced by Heather Rae (Frozen River) and Alexis Fish (Shortbus).

Among the cast of last night's reading were:


Sarah Steele starred as Adam Sandler’s daughter in SPANGLISH, had a lead role in MAN (Sundance short 2008), and recently appeared in the off-Broadway productions of The Prime of Miss Jean Brodie and Speech and Debate.


Josh Caras played the lead in BUGCRUSH (Winner Sundance short 2006), and has also appeared in GRACIE, THE ASSASSINATION OF A HIGH SCHOOL PRESIDENT and DEFINITELY MAYBE.


Rufus Tureen recently appeared in TRUE ADOLESCENTS, directed by NYU alumni Craig Johnson.


Lily Medville recently appeared in the music video Team Queen, directed by Leah Meyerhoff.


Cody Lightning played the lead in FOUR SHEETS TO THE WIND and had supporting roles in SMOKE SIGNALS and BRICK.


Jessica Ryan was recently seen in the music video Eternal Flame and is currently performing in Retrograde. [Mondays, May 5 and 12 @10pm; Wednesdays, May 7 and 14 @ 10pm, Thursday, May 15 @ 10pm; Friday May 16 @10pm- Under St. Marks Theater, 94 St. Marks Place b/w 1st Ave & Ave A.]


Karl Jacob is best known for his lead role in Showtime’s THE ROOST and his recent work in Young American Bodies.


Elizabeth Dahmen recently played the lead in Ex-Antoine and Behind the Harmony and is currently starring in her own web show.

May 1st FREE Tribeca Screening - Beyond Borders

RSVP @ http://beyondbordersfilm.com/

Beyond Borders:
The Debate Over Human Migration

A New Documentary

The Beyond Borders screening will take place on May 1st. This is an invitation for a free screening of Beyond Borders before its national release and a chance to participate in a panel discussion afterwards.

The screening will be followed by a Q&A with the filmmaker Brian Ging, NYIC executive director Ms. Chung-Wha Hong, and documentary interviewees Michele Wucker (senior fellow and executive director of World Policy Institute and author of Lockout), and Sandro St. Jean (featured Haitian painter and recent immigrant).

Please RSVP to reserve your ticket for the event. We encourage you to forward this invitation on to friends, colleagues, and family - all of whom are welcome to attend the event.

WWW.BEYONDBORDERSFILM.COM