Liza Drake (Emily Blunt) is a blue-collar single mom who has just lost her job and is at the end of her rope. A chance meeting with pharmaceutical sales rep Pete Brenner (Chris Evans) puts her on an upwards trajectory economically but dubious path ethically as she becomes entangled in a dangerous racketeering scheme. Dealing with her increasingly unhinged boss (Andy Garcia), the worsening medical condition of her daughter (Chloe Coleman), and a growing awareness of the devastation the company is causing forces Liza to examine her choices.Pain Hustlers is a sharp and revealing look at what some people do out of desperation and others do out of greed. The film is directed by BAFTA award winner David Yates, produced by Lawrence Grey, and also starring Catherine O’Hara, Jay Duplass and Brian d’Arcy James.
In select theaters on October 20th and on Netflix October 27th.
KANSAS CITY READERS:
Advance Screening is 7PM Monday, October 23rd @ Screenland Armour
Nicolas Maupas and Massimiliano Caiazzo in “The Sea Beyond.” Courtesy of MHzChoice
“The Sea Beyond” is an Italian TV drama, mostly set in a detention facility for teens who’ve run afoul of the law. Inmates include both genders but they’re kept mostly in separate areas. It plays out as something of an under-18 soap opera, with a few romances and multiple arenas of violence among a large ensemble cast of principals.
The course of their current incarceration experiences is inter-cut with flashbacks to the preceding events that landed them in the pokey. Most of their criminal behavior seems to result from abusive fathers and father-figures, multi-generational grudges between rival crime families, and the temptations of drugs and thievery for an easy path out of poverty. Plus the desire for respect from their peers and some elders.
The primary focus is on two young men – rich kid, Filippo (Nicolas Maupas) who accidentally caused the death of a friend with an influential father, and Carmine (Massimiliano Caiano) who struggled to free himself from the criminal enterprise of his family but killed the son of a rival capo who was assaulting his girlfriend. That seeming justification means nothing in terms of keeping him out of jail, or safe from reprisals.
Throughout the first season of 12 hour-long episodes, relationships, plots and allegiances swirl among a couple of dozen cast members we get to know. It’s a series that’s ripe for bingeing, since seeing them back-to-back may be valuable in keeping all the plot lines straight – especially for those of us who need the English subtitles. Like most prison dramas, there are inmates with more control over the institution and inmates than they should have, and a full array of addictions, pathologies and aspirations stirring the pot. Viewers’ sympathies will also shift in some cases.
If this leads you to expect the sexiness and violence of shows like “Orange is the New Black,” scale them down to more PG-13 levels. There are only a few brief displays of nudity, just the still-clad beginnings of any sexual encounters, and much of the violence occurs off-camera or with minimal depiction of the acts and results. On those criteria, this would rank as an “Orange is the New Bland” – coming up short for thrill-seekers, while appealing to a larger audience from those turned off by graphic displays of either variety.
Strong performances abound among the inmates and several others running the facility, or related to the kids. No one skimped on production values either. The sets and costumes are worthy of feature films, including enough scenes in the mean streets and at some lovely seaside locations in and around Naples to keep the show from feeling claustrophobic.
Season One ends without major cliffhangers, though most of the romance and revenge plot lines for the array of characters remain unresolved. Not to worry. Seasons Two and Three have already run in Italy, and are scheduled for streaming release on MHzChoice within the coming months.
“The Sea Beyond: Season One”, mostly in Italian with English subtitles, is available streaming on MHzChoice starting Tuesday, Oct. 17.
Just in time for Valentine’s Day, Focus Features’ upcoming horror- comedy LISA FRANKENSTEIN written by Academy Award® winning scribe Diablo Cody (Jennifer’s Body), will be released in theaters on February 9, 2024.
Directed by Zelda Williams in her feature directorial debut, LISA FRANKENSTEIN stars Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest and Carla Gugino.
A coming of RAGE love story from acclaimed writer Diablo Cody (Jennifer’s Body) about a misunderstood teenager and her high school crush, who happens to be a handsome corpse. After a set of playfully horrific circumstances bring him back to life, the two embark on a murderous journey to find love, happiness… and a few missing body parts along the way.
The film was produced by Mason Novick and Diablo Cody, who have previously collaborated on films including Tully, Young Adult, Jennifer’s Body and Juno, which Cody earned an Oscar® for Best Original Screenplay.
On Friday at New York Comic Con, Apple TV+ and the creative team behind “Monarch: Legacy of Monsters” unveiled the trailer for the highly anticipated series, and shared a preview of the expansive new series, based on Legendary’s Monsterverse. Starring Kurt Russell, Wyatt Russell, Anna Sawai, Kiersey Clemons, Ren Watabe, Mari Yamamoto, Anders Holm, Joe Tippett and Elisa Lasowski, “Monarch: Legacy of Monsters” premieres globally with the first two episodes on Friday, November 17 on Apple TV+, followed by one episode every Friday through January 12.
“Monarch: Legacy of Monsters” executive producers Chris Black and Matt Fraction, executive producer Tory Tunnell, executive producer and director Andy Goddard, casting director Ronna Kress and VFX supervisor Sean Konrad came together for the special conversation and screening at New York Comic Con, moderated by entertainment journalist Scott Mantz.
Following the thunderous battle between Godzilla and the Titans that leveled San Francisco, and the shocking revelation that monsters are real, “Monarch: Legacy of Monsters” tracks two siblings following in their father’s footsteps to uncover their family’s connection to the secretive organization known as Monarch. Clues lead them into the world of monsters and ultimately down the rabbit hole to Army officer Lee Shaw (played by Kurt Russell and Wyatt Russell), taking place in the 1950s and half a century later where Monarch is threatened by what Shaw knows. The dramatic saga — spanning three generations — reveals buried secrets and the ways that epic, earth-shattering events can reverberate through our lives.
Hailing from Legendary Television, “Monarch: Legacy of Monsters” is co-developed and executive produced by Chris Black and Matt Fraction. Matt Shakman directs the first two episodes and serves as executive producer alongside Joby Harold and Tory Tunnell from Safehouse Pictures, Andy Goddard, Brad Van Arragon and Andrew Colville. Hiro Matsuoka and Takemasa Arita executive produce on behalf of Toho Co., Ltd., the owner of the Godzilla character. Toho licensed the rights to Legendary for “Monarch: Legacy of Monsters” as a natural byproduct of their long-term relationship with the film franchise.
Legendary Entertainment’s Monsterverse is an epic entertainment universe of interconnected stories that bring together popular culture’s most titanic forces of nature. Witness humanity’s greatest battle for survival as we fight for our world in the face of a catastrophic new reality — the monsters of our myths and legends are real. Beginning in 2014 with Godzilla and continuing with 2017’s “Kong: Skull Island,” 2019’s “Godzilla: King of the Monsters” and 2021’s “Godzilla vs. Kong,” the Monsterverse has accumulated close to two billion dollars globally at the box office and is ever-expanding, with the highly anticipated sequel “Godzilla x Kong: The New Empire.”
The 10-episode series will premiere globally on Apple TV+ alongside an expanding offering of sweeping, world-building dramas including global hit series “Silo”; “Foundation,” based on the award-winning novels by Isaac Asimov, and created by David S. Goyer; “Invasion,” a sci-fi drama series from Academy Award-nominated and two-time Emmy Award-nominated producer Simon Kinberg and David Weil currently streaming its second season and more.
At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), “Killers of the Flower Moon” is an epic western crime saga, where real love crosses paths with unspeakable betrayal. Also starring Robert De Niro and Jesse Plemons, “Killers of the Flower Moon” is directed by Academy Award winner Martin Scorsese from a screenplay by Eric Roth and Martin Scorsese, based on David Grann’s best-selling book.
Hailing from Apple Studios, “Killers of the Flower Moon” was produced alongside Imperative Entertainment, Sikelia Productions and Appian Way. Producers are Martin Scorsese, Dan Friedkin, Bradley Thomas and Daniel Lupi, with Leonardo DiCaprio, Rick Yorn, Adam Sommer, Marianne Bower, Lisa Frechette, John Atwood, Shea Kammer and Niels Juul serving as executive producers.
Starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, “Killers of the Flower Moon” will premiere in theaters around the world, including IMAX® theatres, on October 20th, 2023.
Advance Screening is 6:30PM on Tuesday, October 17th at B&B West Olive – Creve Coeur (5PM SUGGESTED ARRIVAL)
Watch the first clip from director Renny Harlin’s THE STRANGERS: CHAPTER 1 starring Madelaine Petsch that debuted at New York Comic Con.
From master director Renny Harlin (Cliffhanger, Die Hard 2, The Exorcist: The Beginning) comes a new trilogy of terror. In Chapter I, Madelaine Petsch (TV’s “Riverdale”) stars as a young woman starting a new life with her fiancé. Suddenly, during a road trip stop in a remote vacation rental in the woods, they become the prey of a mysterious gang of masked strangers who attack without warning or reason. What begins as a fight to stay alive becomes one woman’s journey of courage and cunning in this horror series bridging three compelling films. Written by Alan R. Cohen & Alan Freedland.
Madelaine Petsch as Maya in The Strangers. Photo Credit: John ArmourFroy Gutierrez as “Ryan” and Madelaine Petsch as “Maya” in THE STRANGERS Trilogy, a Lionsgate release. Photo Credit: John Armour for Lionsgate
End-of-the-year movie awards season is in full swing as we see the release of a film focused on a profession that has had a complex Hollywood history. Often these characters are heroes or villains, with minimal “grey area”. It’s not the police or politicians or even used car dealers. This weekend’s new release is set in the courts, and it’s not basketball, rather the lead is a lawyer. Many times they’re portrayed as sleazy, corrupt “ambulance-chasers”. Or they’re noble ” seekers of the truth” ala’ ninety-plus defender of the innocent Perry Mason, who made a huge impact on TV after becoming an icon in “dime novels”, early “talkies”, and radio. But this film isn’t from the pen of his creator Gardner or the current courtroom scribe, Mr. Grisham. It’s taken from the 25-year-old headlines and news reports, making this work a docudrama. Even though several moviegoers may believe it’s a horror story, it does figure into the case, due to its title THE BURIAL.
It all begins in a Florida church where flashy successful personal injury attorney Willie Gary (Jaimie Foxx) keeps the congregation riveted with his “rags to riches” testimony. From there we see him in another “pulpit” as he delivers his closing summation in a trial that nets his plaintiff $75 million from a trucking firm. Hmm, now who’s the older gentleman watching intently from the court audience? We soon find out as Mr. Gary gets a most surprising visit in his opulent office from a young Biloxi lawyer Hal Dockins (Mamoudou Athie) and his client, that same trial spectator, Jeremiah O’Keefe (Tommy Lee Jones). Gary listens to Hal as he recounts O’Keefe’s story. He’s a respected member of the Biloxi, Mississippi community who owns several funeral homes and a “pre-need” insurance company. All’s well until he gets a visit from the state. It seems he must have a minimum amount in savings assets to keep his license and O’Keefe doesn’t have the funds. He consults his longtime local lawyer Mike Allred (Allan Ruck) who recommends that he sell a couple of his funeral homes. Allred then arranges for them to meet Ray Loewen (Bill Camp), whose Canadian funeral services company wants to expand further into the States. After a fancy seafood dinner on Ray’s yacht, they strike a deal for three O’Keefe locations with the verbal promise that Loewen will let Jeremiah keep his insurance services at them. An “open-ended” contract is signed, and the Loewen company stalls on the finalization, causing Jeremiah to close down much of his chain after his license is pulled. Jeremiah thinks that Mike is too eager to settle for a meager amount, so he turns to Hal who runs a tape of a TV piece on Gary. But Mr. G is reluctant since he’s never taken a contract case, nor has he had a white client. And that five million seems paltry. But Hal convinces him and soon Gary brings his team to Biloxi via his private jet (“Wings of Justice”) to face off against the Loewen legal team led by the fierce and formidable Mame Downes (Jurnee Smollett). Has Willie “the giant slayer” met his match? Will his streak of court victories finally snap as he enters this unfamiliar territory?
The film’s power is primarily due to the compelling and quite different performances of the Oscar-winning lead actors. The more flamboyant (of course) role showcases the skills, comic and dramatic, of the fabulous Mr. Foxx (okay, fantastic too). Foxx makes a “full meal” of the larger-than-life, but very real, Mr. Gary. He’s the hero we want to root for, despite his flashy swagger, as he delights in deflating the “fat cats”. And yet, Foxx shows us his softer side, as he feels the pangs of self-doubt when the courtroom ceases to be his “showroom”. A big part of his concern stems from the unlikely bond with O’Keefe who is given gravitas and dignity by the subtle and superb Mr. Jones. This is one Biloxi boy who won’t take folks talking “down” to him, nor will he be “bulldozed” by Gary or the funeral “kingpins”. Jones’ quiet draws us in and gives real power to this dramatic duo. As the defense attorney Downes, Ms. Smollett is a most worthy and smart adversary, unafraid to “mix it up” with the “boys” while preparing to use every ounce of her law-school savvy. What a pleasure to see the always enjoyable Mr. Ruck (how many decades after playing the BFF of Ferris) as the old pal of Jeremiah who tries to hide his wounded ego to help the case. He even gets a turn on the witness stand, with Ruck conveying every manner of emotion during a brutal “cross-exam”. Every good story needs a great villain, and Camp is more than up to the task making Ray the dead-eyed face of greed and deciet. His annoyance at being in court during the big third act almost steals the movie. There’s also solid support from Athie as the amiable young lawyer who learns to take a stand and become the hard-working “brains” behind the “dream team”. And it’s great to see TV and screen vet Pamela Reed as Mrs. O’Keefe who provides moral strength to her hubby while being as pivotal a partner to him as Gary.
In her third feature film, director Maggie Betts, who co-wrote the screenplay with Doug Wright adapting the article by Jonathan Carr, guides this incredible ensemble and somehow makes funeral contract law an engrossing story element. Yes, it is the main plot, but it’s not overshadowed by the big personality of Foxx’s Gary. Though many scenes outside the court occur in offices and conference centers, there’s no claustrophobia. That is until the characters come into intense disagreements, giving the pace a needed “spark”. Unfortunately, the film needs a bit more of it as it battles a midpoint “lull” as Foxx is pushed to the sidelines. Luckily this leads to a rousing finale, but much of that infectious early energy is drained. This is offset somewhat by the tender sequences involving the O’Keefes and the Garys (despite the chaste verbal flirtations with Ms. Downes). Plus it’s hard to disparage a real “David vs. Goliath” story with a crackling last-act showdown ( and bucking the court film trend of lengthy final summations). Despite the troubles with the flow of the story, fans of Jones and Foxx will dig (sorry) THE BURIAL. Court adjourned!
3 out of 4
THE BURIAL is now playing in select theatres and streams exclusively on Amazon Prime Video
The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.
Starring Zac Efron, Jeremy Allen White, Harris Dickinson, Stanley Simons, Maura Tierney, with Holt McCallany and Lily James, watch the new trailer.
The story of the Von Erichs is one of triumph in the ring and also personal tragedy. In April 1984, Sigma Phi Epsilon sponsored a match that was intended to be a homecoming for David after a tour with All Japan Pro Wrestling. Unfortunately, David fell ill during the tour and died on February 10 of acute enteritis. Brothers Kevin and Mike returned to NTSU in his honor in April to defeat their arch-nemeses the Fabulous Freebirds, Terry Gordy and Michael Hayes. The following February, Kevin made a follow-up appearance at the Men’s Gym to defeat “Gentleman” Chris Adams.
Though Mike Von Erich tried to fill the vacancy left by his brother David, his time in the ring would be short. After suffering a serious shoulder injury during a tour in Israel in 1985, Mike was never able to return to the ring at full strength. Kerry was involved in a life-threatening motorcycle accident in 1986 that resulted in the amputation of his right foot. The next year, frustrated by the injury that had forced his retirement, Mike took his own life. The loss of Mike and David weighed heavily upon the family, especially in the shadow of Fritz’s first son, Jack, who had been killed in an electrical accident at a very young age in 1959.
Chris Von Erich, the youngest of Fritz’s sons, began wrestling in 1990. Unfortunately, his small stature and brittle bones meant that he would never achieve the level of success that his father and brothers had enjoyed. On September 12, 1991, Chris took his own life. Two years later, after the loss of four brothers and still struggling with the aftermath of the motorcycle accident, Kerry Von Erich committed suicide as well.
Though a shadow lay over the family after so many tragic losses, the Von Erich tradition survived. The third generation saw Kevin’s sons Ross and Marshall, and Kerry’s daughter Lacey, competing in the Total Non-stop Action Wrestling brand.
Written and Directed by Sean Durkin, look for THE IRON CLAW in cinemas on December 22.
From Academy-Award Nominee Raoul Peck, Silver Dollar Road follows the story of the Reels family as told by the matriarch Mamie Reels Ellison and her niece Kim Renee Duhon, two fierce and clear-eyed women bending to safeguard valiantly their ancestors’ land and their brothers and uncles Melvin and Licurtis, who were wrongfully imprisoned for eight years – the longest sentence for civil contempt in North Carolina history. This documentary, based on the 2019 ProPublica article, highlights the covert ways the legal system has been exploited to keep Black land ownership fragile and the racial wealth gap growing. Coming to Prime Video on October 20th.
The Advance Screening is on Wednesday, 10/18, 7pm at the B&B Creve Coeur West Olive 10 (6 PM Suggested Arrival Time)
Cinema St. Louis (CSL) is thrilled to unveil the 32nd Annual Whitaker St. Louis International Film Festival (SLIFF), set to captivate audiences from November 9th to 19th at the historic Hi-Pointe Theatre, CSL’s new forever home, as well as at multiple venues across the city including the Alamo Drafthouse, Webster University, Washington University and more.
Highlights of this year’s fest include:
SLIFF’s Opening Night Party on 11/9 at the Hi-Pointe, where the fest will celebrate 50 Years of Hip-Hop in St. Louis, as explored through both film and music
Signe Baumane on hand to accept this year’s Women in Film Award at a showing of her newest film, “My Love Affair with Marriage” on 11/11
La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024 and will screen on 11/12 at the Hi-Pointe Theatre
Director Alexander Payne to receive the Lifetime Achievement Award, while showcasing not only his newest film on 11/14, “The Holdovers,” but also his modern classic, “The Descendants,” on 11/15
A screening of The TIFF 2023 People’s Choice Award winner, “American Fiction,” on 11/17, directed and written by Cord Jefferson, co-starring St. Louis’s favorite son, Sterling K. Brown.
Highlighting the lives of the LGBTQ+ community, SLIFF’s QFest SpotlightFilm, “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, starring Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy, will close the festival on 11/19
The festival will culminate on Sunday, November 19th, with the much-anticipated Awards Party, featuring an insightful conversation with Reginald Hudlin, during which he will be bestowed with a Lifetime Achievement Award.
The festival kicks off on Thursday, November 9th, celebrating 50 Years of Hip-Hop with a tribute to the Hi-Pointe Cafe’s pivotal role in shaping hip-hop’s history, showcasing the city’s significant influence in its evolution. Attendees will be treated to a cocktail reception, engaging conversations, and a special screening of the 1990 film, “House Party,” directed by East St. Louis’ own, Reginald Hudlin.
CSL’s Executive Director, Bree Maniscalco, shared, “As we celebrate our first festival at the Hi-Pointe Theatre, we wanted to pay tribute to the Hi-Pointe neighborhood and honor those who made Hip-Hop what it is today. Mondays at the Hi-Pointe Cafe holds a special place in many people’s hearts, and we’re looking to bring it back to kick things off in style for this year’s Fest.”
This year’s festival promises a variety of exclusive events, screenings, enlightening post-film Q&A sessions, and illuminating masterclasses dedicated to addressing industry-relevant topics. SLIFF received an impressive 2,419 submissions, marking the festival’s 32nd anniversary with record-breaking enthusiasm. SLIFF’s dedicated team of programmers, hailing from diverse backgrounds, meticulously curated a selection of 278 remarkable films that underscore the transformative power of cinema.
The lineup includes 54 captivating narrative features, 52 thought-provoking documentary features, and an astounding 172 short films, all part of its prestigious Oscar-qualifying annual Shorts Competition. These films delve deep into a spectrum of compelling themes, ranging from art, the environment, human rights, and racial equity, to name just a few. What’s more, they authentically represent perspectives from 32 countries, encompassing an astounding 39 native languages, ensuring that SLIFF remains a truly international celebration of storytelling through film.
FILM SPOTLIGHTS
SLIFF serves as a cinematic beacon, illuminating the big screen with a diverse array of films that might otherwise remain hidden gems, waiting to be discovered by local audiences. As the festival unfolds, St. Louis becomes a vibrant hub for filmmakers from far and wide, with many making their inaugural visit to the city. In this dynamic atmosphere, the city buzzes with the infectious energy and passion that only the power of film can generate.
Documentary Spotlight: Sponsored by Mary and Leon Strauss, this spotlight will screen 130 films, including “Sorry/Not Sorry,” an examination of Louis C.K.’s, comeback and the unseen effects of this on the women who spoke publicly about the sexual harassment accusations in 2017; “Chasing Chasing Amy,” the complex legacy of Kevin Smith’s Chasing Amy (1997, also screening at SLIFF) on LGBTQ+ people and its life-saving impact on director Sav Rodgers; “We Dare to Dream,” follows athletes on their journey to become part of the refugee Olympic team; “Nathan-ism,” a tender portrayal of an artist’s distinctive viewpoint on his war assignment, coupled with his impassioned yearning for self-expression.;and “Omoiyari,” follows Kishi Bashi when a media interview links the Muslim ban and the immigration crisis at the USA-Mexico border with the incarceration of Japanese-Americans during WWII.
French Language Spotlight: Sponsored by the Jane M. and Bruce P. Robert Charitable Foundation, this spotlight will feature 16 feature and short films celebrating St. Louis’ Gallic heritage and France’s cinematic legacy. Leading the spotlight is “La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.
New Filmmakers Forum: SLIFF’s longest-running juried award, highlighting first-time narrative feature filmmakers whose works truly stand out.
Oscar-Qualifying Shorts Competition: SLIFF is one of 63 Oscar-accredited short film competitions worldwide, making filmmakers who win a “Best of” at SLIFF, eligible for an Academy Award nomination.
Across 11 documentary shorts programs, audiences will witness the global impact of art, the nuances of the Black experience, the damage done by society’s broken systems, the power of indigenous lands, the thrill of high-stakes sports, the state of the average workday, the importance of sustainability, the plight of immigrants worldwide, the spectrum of sexuality, the reality of living with disabilities, and the untold stories of remarkable St. Louisans.
This year’s selection of narrative short films strives to highlight the vast array of global voices in contemporary cinema. Twenty languages are represented, and over half come from female filmmakers. Three highlights of the fifteen total programs are “Beyond Pedro,” a slate of shorts from emergent Spanish filmmakers, “Pan-Asia Stories,” and “Joy in Latinx Representation.” Elsewhere, adventurous genre fans will find new kinds of horror with “A New Kind of Blood” and eye-popping, mind-bending animation from around the world with “Transmission.” Of course, area films and filmmakers are well represented in the narrative shorts selections, with two programs featuring the best of the 2023 St. Louis Filmmakers Showcase, held by Cinema St. Louis this past summer.
QFest Spotlight: A collection of films that spotlight the lives of LGBTQ people while celebrating queer culture. Films include “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, loosely based on the 1987 novel Strangers by Taichi Yamada. The film stars Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy; “Glitter & Doom,” a fantastical summer romance musical told with the iconic tunes of legendary American Folk music duo the Indigo Girls; and “Housekeeping for Beginners,” the Official submission of North Macedonia for the Best International Feature Film category of the 96th Academy Awards in 2024.
Race in America Spotlight: For the last 10 years, SLIFF’s Race In America programming has reflected the frustrations of African Americans in response to the events in Ferguson. While this mission continues, the Spotlight will also draw attention to building community, fostering dialogue, and creating a platform for real societal change. To maximize these objectives, all of the 14 programs are offered for free thanks to support from the Trio Foundation of St. Louis. Films include “The Space Race,” whichexplores the experiences of the first Black astronauts through decades of archive film and interviews in a reflective illumination on the burden of breaking barriers; “Razing Liberty Square,” chroniclingresidents who fight to save their community from climate gentrification; “Ellis,” the first feature-length documentary about Ellis Marsalis Jr. and the Marsalis Music Family. This screening will pay tribute to the late St. Louis Post-Dispatch Theater Critic (former film critic), Calvin Wilson, with a portion of ticket proceeds donated to his alma mater, Northwest High School’s Performing Arts department; “Black Barbie,” the story behind the first Black Barbie; and “Kenyatta Do Not Wait Your Turn,” from Al Roker, an inspiring film that follows a self-described “poor, gay, Black man from North Philly” on his historic run for the U.S. Senate.
Studio Spotlight: Star-filled highlights include “All Dirt Roads Taste of Salt,” anAmerican drama film, written and directed by Raven Jackson, starring Charleen McClure, Moses Ingram, Reginald Helms Jr., Zainab Jah, Sheila Atim, and Chris Chalk; “American Fiction,” an American satirical comedy-drama film directed and written by Cord Jefferson based on the 2001 novel Erasure by Percival Everett, starring Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, Sterling K. Brown, Myra Lucretia Taylor, John Ortiz, Issa Rae, and Adam Brody; “The Holdovers,” an American comedy-drama film directed by Alexander Payne, starring Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa; “Maxine’s Baby,” a documentary about Tyler Perry; and “Taste of Things,” (La Passion de Dodin Bouffant), directed by Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, is sure to leave audiences hungry for more and serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.
AWARDS
SLIFF is pleased to honor the following for their incredible contributions to film:
Reginald Hudlin, a distinguished American film screenwriter, director, producer, and accomplished comic-book writer, hails from the vibrant cultural tapestry of East St. Louis. His cinematic repertoire boasts an impressive array of works, including notable titles such as “Marshall,” “The Black Godfather,” and “Sydney,” each contributing to his renowned status in the industry. On the closing night of the SLIFF, which falls on Sunday, November 19th, Hudlin will engage in an enlightening interview, offering audiences a captivating insight into his illustrious career, and he will be bestowed with a highly deserved Lifetime Achievement Award, an accolade reflecting his enduring influence.
Alexander Payne, a luminary in American cinema, is a prominent film director, screenwriter, and producer celebrated for his illustrious career, including directorial gems such as “Sideways,” “Election,” and “Nebraska,” each a testament to his mastery of the craft. On Tuesday, November 14th, at the Hi-Pointe Theatre, audiences will have the rare opportunity to delve into the creative genius of Paynewith his latest cinematic creation, “The Holdovers.” This screening is an occasion to honor Payne with a well-deserved Lifetime Achievement Award. On Wednesday, November 15th, at the Hi-Pointe Theatre following a screening of his 2011 cinematic masterpiece, “The Descendants,” Payne will engage in an enlightening conversation, led by former CSL Executive Director Cliff Froehlich. In a poignant gesture of solidarity, a portion of the ticket sales from this screening will be donated to the Hawaii People’s Fund, an organization dedicated to offering direct aid in the aftermath of Maui’s wildfire devastation.
Signe Baumane, an extraordinary talent from Latvia now rooted in the creative hub of Brooklyn, Baumane emerges as a multifaceted powerhouse in independent filmmaking, artistry, writing, and animation. With an illustrious career, she has crafted 16 acclaimed animated shorts that have earned her numerous awards and accolades, solidifying her place as a luminary in the field. Her groundbreaking animated feature debut, “Rocks in My Pockets,” impressed SLIFF audiences in the past, and audiences this year will be entertained by her latest cinematic offering, “My Love Affair with Marriage.” Her film will screen at the Hi-Pointe Theatre on Saturday, November 11th, where she will be honored with the prestigious Women In Film Award, a testament to her unwavering dedication and the inspiring stories she brings to life through her craft.
Not a CSL Annual Member? In addition to discounts at SLIFF, members receive year-round benefits, sure to please every type of movie lover. Learn more and become a member here: https://cinemastlouis.org/membership.
The festival will showcase films and special events across multiple centrally-located venues throughout the St. Louis area:
Alamo Drafthouse Cinema, located at 3700 Forest Park Ave, Saint Louis, MO 63108
Arkadin Cinema & Bar, located at 5228 Gravois Ave, St. Louis, MO 63116
Contemporary Art Museum, located at 3750 Washington Blvd., St. Louis, MO 63108
The Foundry Art Center, located at 520 N Main Center, St Charles, MO 63301
Hi-Pointe Theatre, located at 1005 McCausland Ave., St. Louis, MO 63117
Hi-Pointe Backlot Theatre, located at 1002 Hi-Pointe Pl., St. Louis, MO 63117
St. Louis Public Central Library, located at 1301 Olive St., St. Louis, MO 63103
Washington University, Brown Hall Auditorium, located at Centennial Greenway, St. Louis, MO 63105
Webster University, Moore Auditorium, located at 470 East Lockwood Ave., Webster Groves, MO 63119
SPONSORS
Title Sponsor: Whitaker Foundation
Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Coolfire Studios, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, Missouri Film Office, National Endowment for the Arts, Regional Arts Commission, Mary Strauss, Trio Foundation of St. Louis, William A. Kerr Foundation
Presenting Partners: Alamo Drafthouse Cinema, Arkadin Cinema & Bar, Contemporary Art Museum St. Louis, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Foundry Art Centre, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series
