Paul Giamatti “has never been better” (Deadline) in acclaimed Academy Award® -winning director Alexander Payne’s newest film, THE HOLDOVERS, available to own with all-new exclusive bonus featurettes on Digital on December 29, 2023, and on Blu-ray™ and DVD on January 2, 2024 from Universal Pictures Home Entertainment. Certified fresh on Rotten Tomatoes with a score of 96% and nominated for 8 Critics Choice Awards® including Best Picture, THE HOLDOVERS delivers an expert balance of comedy and warmth.
“Raucously funny” (The Hollywood Reporter) and poignant, THE HOLDOVERS stars critically acclaimed actor Paul Giamatti (Sideways, American Splendor), alongside the remarkable Da’Vine Joy Randolph (Dolemite Is My Name, “Only Murders in the Building”) and Dominic Sessa in his feature film debut.
From acclaimed director Alexander Payne, THE HOLDOVERS follows a curmudgeonly instructor (Paul Giamatti) at a New England prep school who is forced to remain on campus during Christmas break to babysit the handful of students with nowhere to go. Eventually, he forms an unlikely bond with one of them — a damaged, brainy troublemaker (newcomer Dominic Sessa) — and with the school’s head cook, who has just lost a son in Vietnam (Da’Vine Joy Randolph).
WAMG is giving away to THREE of our lucky readers a 4K/Blu-ray copy.
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‘COLLECTOR’S EDITION’ EXCLUSIVE BONUS FEATURES TO OWN ONLY ON DIGITAL, BLU-RAYTM & DVD:
Alternate Ending – “Mary Continues On”
Deleted Scenes
Introduction by Alexander Payne
New Room
Making a Scene
The Road Back to Barton
Ancient History
The Cast of THE HOLDOVERS – Sit down with the cast of THE HOLDOVERS, including Paul Giamatti, Da’Vine Joy Randolph, and newcomer Dominic Sessa, while they discuss getting into the minds of their characters. Meet the boys of Barton and learn more about director Alexander Payne’s casting process.
Working with Alexander – Hear the cast and crew about their on-set experience working with acclaimed director Alexander Payne.
FILMMAKERS: Cast: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa
Casting By: Susan Shopmaker, CSA
Music: Mark Orton
Costume Designer: Wendy Chuck
Editor: Kevin Tent,ACE
Production Designer: Ryan Warren Smith
Director of Photography: Eigil Bryld
Executive Producers: Andrew Golov, Thom Zadra, Chris Stinson, Tom Williams
Produced By: Mark Johnson P.G.A., Bill Block, David Hemingson
Written By: David Hemingson
Directed By: Alexander Payne
TECHNICAL INFORMATION BLU-RAYTM:
Street Date: January 2, 2024
Selection Number: 191329241967 (US)
Layers: BD 50
Aspect Ratio: 16:9 1.66:1 Side Matted
Rating: R for language, some drug use and brief sexual material
Subtitles: English SDH, French Canadian, and Latin American Spanish
Languages/Sound: English (DTS-HD Master Audio 3.0 for Feature, Dolby Digital 2.0 for Bonus Content), French Canadian (DTS Digital 3.0), and Latin American Spanish (DTS Digital 3.0)
Run Time: 2:13:16
TECHNICAL INFORMATION DVD:
Street Date: January 2, 2024
Selection Number: 191329241974 (US)
Layers: DVD 9
Aspect Ratio: 16:9 1.66:1 Side Matted
Rating: R for language, some drug use and brief sexual material
Subtitles: English SDH, French Canadian, and Latin American Spanish
Languages/Sound: English (DVS Dolby Digital 2.0 for Feature, Dolby Digital 2.0 for Bonus Content), French Canadian (Dolby Digital 3.0), and Latin American Spanish (Dolby Digital 3.0)
We just finished that spooky holiday and now we (mostly the retailers) are gearing up for the big two end-of-the-year family holidays. And if you’re at school and far away from family you’re looking forward to taking a break from academia to reunite with those loved ones. But what if that’s not possible, and you’re stuck for a couple of weeks with your least favorite teacher? That’s the premise of this dramedy, which is a cause for celebration for film lovers. That’s because it’s the latest directorial effort from a filmmaker who has been delighting us for over thirty years now. And for a little extra treat in our stocking, this reunites him with an actor who has been quite a scene stealer in supporting character roles. Well now, he’s front-and-center along with a talented acting duo as the the trio that’s forced to bound over Christmas and into New Year’s as THE HOLDOVERS.
It’s a very chilly snowy 1970 December on the campus of the prestigious Barton Academy, an elite prep school for boys in the New England area. All the students are “psyched” for Christmas break, especially fifteen-year-old Angus Tully (Dominic Sessa). He’s one of the better scholars, but he has a knack for getting into mischief. Although he gets passing grades, he still manages to “get under the skin” of prickly curmudgeon Dr. Paul Hunham (Paul Giamatti) the loathed teacher of ancient civilizations. And the dean at Barton is not too happy with him as he didn’t give a ‘pass’ to the son of a wealthy school donor. Therefore Hunham will stay on campus during the break to supervise the students with nowhere to go for the holiday. Then Tully suddenly finds himself in that group after his mother informs him that she’s planning a belated Winter honeymoon with her new hubby. And then the group of “holdovers” is “whittled down to three when a rich papa whisks away four students in his private copter. Their parents were called and gave the “OK” while Tully’s couldn’t be reached. So he’s “stuck” at school with Hunham and the cafeteria supervisor Mary Lamb (Da’Vine Joy Randolph) who recently lost her only son in Vietnam. So, is there any way this threesome can get along and make these holidays happy?
Oh welcome back Mr. Giamatti, it feels as though your excellent work on the Showtime series “Billions” has kept you away from the big screen far too long. Happily, you’ve gifted us with a superb performance as the reviled teacher mockingly called “Walleye”. He could have easily become a caricature of the scholarly dictator cartoonishly ruling his classroom with an iron fist. Mind you, we get a bit of that in the opening sequences as he gifts his charges with a “lump of coal” wrapped in homework, but Hunham is more complex than that. His hard exterior doesn’t obscure his longing spirit as Giamatti shows us that this surly misanthrope yearns for a human connection, as he tries not to drown in a sea of regret and remorse. One of the few staffers he reaches out to is Mary, played by the compelling Ms. Randoph. Her no-nonsense kitchen queen also puts up a “tough front”, not wishing to be pitied for her heart-wrenching loss. Randolph shows us that Mary has found another wounded soul in Hunham. Much of the same can be said for the “tossed away” son played by screen newcomer Sessa who uses a snarky wiseguy attitude to mask the hurt abandonded child inside. With his Pop “out of the picture”,, Tully needs a family connection to his mother who appears to toss him aside for her new beau. And Sessa shows us how this fuels his rebellious behavior with Hunham. Sessa’s best moments are when he strains against his mentor as he tries to charge into adulthood (his flirtation with a local girl is charming and a bit “cringe”). These three powerhouse actors provide a strong foundation for the film.
But it all might collapse if it weren’t for the superior “architect” behind this story, the engaging filmmaker Alexander Payne working from David Hemingson’s smart and sensitive (and very funny) screenplay. The two expertly recreate that “transition time” as the radical 60s eased into the go-go 70s. Helping considerably is the authentic sets (all real places), art direction, costuming, and grooming (wow, those helmet-like hair haircuts of the day). This is first and foremost a Payne project as we become involved with these offbeat characters, but it’s also a warm homage to the directors of that period as the whole movie has the feel of lauded director Hal Ashby (especially THE LAST DETAIL with the trio at the center of a journey), mixed with a touch of James Bridges’ THE PAPER CHASE and assorted other school-set dramedies. The atmosphere seems so real as we can almost feel those cold dark paneled floors as the characters tromp through those long empty hallways. And again, Payne gets the best out of his cast, rivaling his last collaboration with Giamatti nearly twenty years ago with SIDEWAYS. There are no flashy camera techniques or staccato editing, merely (though it’s oh so rare) assured storytelling abetted by superlative performances. THE HOLDOVERS is a true cinematic holiday gift for movie lovers everywhere.
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
DOWNSIZING, the latest from writer/director Alexander Payne, begins as a satirical comedy then halfway through, veers off into a darker, more serious story tackling issues such as immigration and the environment. Your enjoyment of the film may depend if you find this direction the film takes intriguing. If you don’t, you’re in for a long two hours and fifteen minutes, but I liked where it went. The dialogue is written with wit and romance and it’s a story I had not seen before. DOWNSIZING is not entirely successful, but it is new and fresh and ambitious, not shy of taking chances and with so many movies fitting into easily-defined niches, those are refreshing characteristics.
Matt Damon stars in DOWNSIZING as Paul Safranak, a mild-mannered occupational therapist on staff with the Omaha Steaks company in Nebraska. He and his somewhat unhappy wife Audrey (Kristen Wiig) are charmed by what’s presented by slick salespeople as a luxurious lifestyle change (Neil Patrick Harris and Laura Dern are a stitch in small roles as ‘downsizing’ pitchmen). Scientists have discovered a way to shrink humans down to five inches with no damaging side effects (unless they forget to remove fillings in your teeth prior to the shrinking process. In that case your head will explode). Once one has ‘gotten small’ (an irreversible process), fewer resources are needed, upper-class comfort can be found within a couple of feet of living space, and your dollar has substantially more spending power. Scientists figure that if enough people choose this option and reside in environmentally friendly micro-communities, the world can be saved. Paul and Audrey decide to take the plunge, and in an extended sequence, the bizarre process of shrinking is detailed. This includes being shaved, receiving an enema, and being flipped onto a tiny gurney with a spatula. Paul awakens from his surgery and, after checking to make sure his genitalia survived intact, is eager to join his wife. This brings us to the funniest scene in the film, where Audrey, one eyebrow shaved off, tries to explain on the phone to her husband why she got cold feet and has backed out of the deal. A dejected Paul settles in as a tiny bachelor, briefly dates a woman (Kerry Kenney) and makes friends with hard-partying neighbors Dusan (Christoph Waltz) and Konrad (Udo Kier), smugglers who make money bootlegging full-sized contraband. But Paul slowly discovers that this tiny world they call Leisureland is far from the paradise he’d been promised, too often emulating the normal-sized world with corruption, prejudice, rampant consumerism and chain restaurants while the miniature poor are walled off in a tiny ghetto. Worse, the downsizing process is being used for nefarious global ends, with dictators forcibly shrinking rivals and teeny terrorists infiltrating the U.S. border.
These early scenes where the central gimmick is milked with jokes and sight gags are the most conventional parts of DOWNSIZING. Around the halfway mark, we’re introduced to Dusan’s maid Ngoc Lan (Hong Chau), a Vietnamese illegal immigrant who was shrunk against her will while imprisoned as a dissident. Ngoc was the only survivor of a group who tried to make entry into the U.S. inside a TV box, losing a leg in the process. This is where DOWNSIZING changes tone and veers off into heavier territory. After Paul offers to repair Ngoc Lan’s defective prosthetic leg, she convinces him to help the lower-class ‘smalls’ who live outside the walls of Leisureland in a shabby housing project. DOWNSIZING suffers from a case of split personality, abandoning the gags for a heavy, end-of-the world twist and a boat trip to Norway to confront the scientist who invented the shrinking process. Some viewers may have trouble embracing this shift in tone, and the plot does meander toward the end, but I appreciated that Payne took the story in this direction instead of simply continuing the obvious comic possibilities of its premise. Hong Chau gives a heartbreaking, Oscar-worthy turn as Ngoc Lan. With her abrasive, broken English, she initially borders on caricature, but she’s given a couple of speeches that really give the film charm and emotional resonance. Damon is fine, though this role isn’t much of a stretch for him while I could watch the droll interplay between the great German actors Christoph Waltz and Udo Kier all day long (I’d love to see a spin-off film just about those two). Hard to classify, DOWNSIZING is that rare Hollywood movie that manages to say something and be not just entertaining, but funny as well. Recommended.
DOWNSIZING imagines what might happen if, as a solution to overpopulation, Norwegian scientists discover how to shrink humans to five inches tall and propose a 200-year global transition from big to small. People soon realize how much further money goes in a miniaturized world. With the promise of a better life, everyman Paul Safranek (Matt Damon) and wife Audrey (Kristen Wiig) decide to abandon their stressed lives in Omaha for a new downsized community, taking the irreversible leap that will trigger life-changing adventures when they become small.
WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of DOWNSIZING on December 18 at 7pm in the St. Louis area.
Answer the Following:
DOWNSIZING is the second collaboration for Wiig and Damon. The two costarred in which Ridley Scott movie?
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OFFICIAL RULES:
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2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.
RATING: R for language including sexual references, some graphic nudity and drug use.
Matt Damon, Christoph Waltz, Jason Sudeikis, Hong Chau and Kristen Wiig star in the brand new trailer for director Alexander Payne’s DOWNSIZING.
DOWNSIZING imagines what might happen if, as a solution to over-population, Norwegian scientists discover how to shrink humans to five inches tall and propose a 200-year global transition from big to small. People soon realize how much further money goes in a miniaturized world, and with the promise of a better life, everyman Paul Safranek (Matt Damon) and wife Audrey (Kristen Wiig) decide to abandon their stressed lives in Omaha in order to get small and move to a new downsized community — a choice that triggers life-changing adventures.
Damon and Wiig previously starred in 2015 in Ridley Scott’s sci-fi hit THE MARTIAN.
From Paramount Pictures, DOWNSIZING will open in theaters December 22.
Every once in a while, a supporting performance comes along that overshadows the lead characters of a film. In the case of filmmaker Alexander Payne’s latest tale, and in once unforgettable scene, this would be the remarkable June Squibb.
Get to know the Best Supporting Actress Oscar Nominee in a funny video from Jimmy Kimmel Live.
NEBRASKA received six Oscar nominations including Best Picture, Best Director, Best Actor (Bruce Dern), Best Supporting Actress, Best Cinematography (brilliantly shot in B&W by Phedon Papamicheal) and Best Original Screenplay (Bob Nelson).
“I don’t doubt myself when it comes to work,” said Squibb during her pre-Golden Globe interview on CBS Sunday Morning.
NEBRASKA makes its Blu-ray, DVD and VOD debut on February 25, 2014 from Paramount Home Media Distribution. The film is available now on Digital and Digital HD.
Hailed as “an American masterpiece” (Richard Roeper, Chicago Sun-Times), the film was also named one of the best movies of the year by the AFI, Wall Street Journal, USA Today, Vanity Fair, Rolling Stone, New York Times, The New Yorker, Los Angeles Times, Variety, Huffington Post, Slate, the National Board of Review and numerous critics associations.
From Academy Award-winner Alexander Payne, the director of Sideways and The Descendants, comes the captivating story of a father (Bruce Dern) and his adult son (Will Forte) who embark on a journey to claim a million-dollar prize; what begins as a fool’s errand becomes a search for the road to redemption.
Screen legend Bruce Dern gives “a career crowning performance” (Scott Foundas, Variety) that has earned him widespread critical praise, as well as the Best Actor award from the Cannes Film Festival, the National Board of Review and the Los Angeles Film Critics and Oscar, Golden Globe, SAG, Spirit and Satellite award nominations. NEBRASKA also features an outstanding supporting cast including Stacy Keach, Oscar nominee June Squibb and a “revelatory” (Peter Travers, Rolling Stone) Will Forte.
On Thursday, NEBRASKA received six Oscar nominations including Best Cinematography. Up until the 30th Academy Awards (1958), Best Cinematography was divided into two categories – Color and Black & White. According to AMPAS, the last entirely black-and-white film to win Best Picture was THE ARTIST (2011). Prior to that, The Apartment (1960) held this distinction; Schindler’s List (1993) had some color elements.
One of the first decisions director Alexander Payne took in making NEBRASKA was to shoot the film in black and white.
He knew it would be a risk, but it was central to his vision of the story. “Visual style was my window into the picture,” he notes.
“Black and white just felt like the right choice for this film, because that’s always how I read it and saw it,” explains Payne. “I’ve also always wanted to make a film in black and white. It’s such a beautiful format. And this modest, austere story lends itself to a visual style as stark, plain and direct as the lives of the people in the film.”
Director of Photography, Phedon Papamichael, who also shot “Sideways” and “The Descendants” with Payne, says that Payne talked about black and white from moment one. “That’s how he saw it in his head,” he says, “so even though there was a series of struggles about how to make it happen, that was always the plan.”
The specifics of tone and texture emerged from a series of tests. “We did lots and lots of testing,” Papamichael recalls, “to find the particular look of black and white that was right for the film. There’s nothing stylized about it, though. It’s a high-contrast look that supports the human comedy and really sets that mood.”
Have a look at Phedon Papamichael’s evocative images from the film.
Papamichael notes that they all wanted to make the most of the opportunity creatively. “We definitely knew this might be the only time in our lives we’d have a chance to make a black and white film, which I think is a dream of a lot of filmmakers, so we really enjoyed it. At the end, there was the feeling of ‘how can we ever go back to making color films again?’ It’s like a whole new reality.”
To fully explore that reality, he and Payne perused film noirs, Italian Neo-Realism and contemporary American film such as “The Last Picture Show” (notably, Papapmichael’s father shot the sequel to “The Last Picture Show,” “Texasville”), but the biggest driving factor was the characters.
“The way that the black and white works with the texture in Bruce Dern’s face alone, with all of the subtleties of his performance, is so powerful,” he notes. “Equally important was the decision to shoot with anamorphic lenses, which really lend themselves to these landscapes — the vastness of them, the power of the sky, the texture of the fields, the feeling of Midwestern communities.”
The decision to shoot with Arri Alexa cameras came after extensively testing color and black and white stock, and realizing digital would offer the most range and flexibility. In post-production, a layer of authentic film grain was then added to the digital print to echo the warp and weave of celluloid.
This was the first time Papamichael had shot in the Midwest, and he found himself charmed by the locales and more so the people. “You have wonderful, archetypal landscapes, but some of my favorite scenes to shoot came in these little, powerful moments that are so human,” he says.
After receiving a sweepstakes letter in the mail, a cantankerous father (Bruce Dern) thinks he’s struck it rich, and wrangles his son (Will Forte) into taking a road trip to claim the fortune.
Shot in a black and white Cinemascope that mirrors the dusky beauty of small-town USA and the film’s high contrasts of humor and heartbreak, the film gives comic consideration to questions of family roots and family riddles, delusion and dignity, self-worth and the quiet yearning for a dash of salvation.
In Alexander Payne’s NEBRASKA a father and son steer the American road comedy into a vanishing Midwest on the trail of a dubious fortune – and in search of an understanding of each other that once seemed impossible.
This is the story of the Grant family of Hawthorne, Nebraska. Now transplanted to Billings, Montana, stubborn, taciturn Woody (Bruce Dern in a role that won Best Actor at the Cannes Film Festival) is well past his prime — such as it ever was — and possibly his usefulness, but he believes he’s got one last shot at mattering: a notice that he’s the lucky winner of a million-dollar sweepstakes.
To claim his fortune, Woody insists he must quickly get to the sweepstakes company’s office in Lincoln, Nebraska – a 750-mile journey that seems unlikely given that he can barely shuffle down the road a few blocks, at least not without stopping for a drink. Worried for his father’s state of mind, it falls to Woody’s reluctant, baffled son David (Will Forte) to accompany him on a trip that seems hilariously futile on the surface.
Yet, their odd journey becomes a kind of modern family odyssey. When Woody and David make a pit-stop in their hometown of Hawthorne – with the Grant’s tart-tongued matriarch (June Squibb, “About Schmidt”) and anchor-man son (Bob Odenkirk, “Breaking Bad”) joining them – word of Woody’s fortune makes him, momentarily, a returning hero. Then it brings out the vultures. But it also opens a view into the unseen lives of David’s parents and a past more alive than he ever imagined.
Shot in a black and white Cinemascope that mirrors the dusky beauty of small-town USA and the film’s high contrasts of humor and heartbreak, the film gives comic consideration to questions of family roots and family riddles, delusion and dignity, self-worth and the quiet yearning for a dash of salvation.
NEBRASKA is in theatres now.
WAMGis giving away Run-Of-Engagement passes to NEBRASKA. Each pass admits two (2) to the regular run at LANDMARK PLAZA FRONTENAC, Monday through Thursday.
ANSWER THE FOLLOWING QUESTION:
What is your favorite Bruce Dern film and why?
We will contact you if you are a winner.
OFFICIAL RULES:
1. FILL OUT YOUR NAME AND E-MAIL ADDRESS BELOW. REAL FIRST AND LAST NAMES REQUIRED.
2. WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS. NO PURCHASE NECESSARY. PASSES WILL NOT BE SUBSTITUTED OR EXCHANGED. DUPLICATE RUN-OF-ENGAGEMENT PASSES WILL NOT BE ACCEPTED.
“We are now authorized to pay one million dollars to
Mr. Woodrow T. Grant of Billings, Montana.”
— Notice from Mega Sweepstakes Marketing mailed to Woody Grant
In Alexander Payne’s NEBRASKA a father and son steer the American road comedy into a vanishing Midwest on the trail of a dubious fortune – and in search of an understanding of each other that once seemed impossible.
This is the story of the Grant family of Hawthorne, Nebraska. Now transplanted to Billings, Montana, stubborn, taciturn Woody (Bruce Dern in a role that won Best Actor at the Cannes Film Festival) is well past his prime — such as it ever was — and possibly his usefulness, but he believes he’s got one last shot at mattering: a notice that he’s the lucky winner of a million-dollar sweepstakes.
To claim his fortune, Woody insists he must quickly get to the sweepstakes company’s office in Lincoln, Nebraska – a 750-mile journey that seems unlikely given that he can barely shuffle down the road a few blocks, at least not without stopping for a drink. Worried for his father’s state of mind, it falls to Woody’s reluctant, baffled son David (Will Forte) to accompany him on a trip that seems hilariously futile on the surface.
Yet, their odd journey becomes a kind of modern family odyssey. When Woody and David make a pit-stop in their hometown of Hawthorne – with the Grant’s tart-tongued matriarch (June Squibb, “About Schmidt”) and anchor-man son (Bob Odenkirk, “Breaking Bad”) joining them – word of Woody’s fortune makes him, momentarily, a returning hero. Then it brings out the vultures. But it also opens a view into the unseen lives of David’s parents and a past more alive than he ever imagined.
Shot in a black and white Cinemascope that mirrors the dusky beauty of small-town USA and the film’s high contrasts of humor and heartbreak, the film gives comic consideration to questions of family roots and family riddles, delusion and dignity, self-worth and the quiet yearning for a dash of salvation.
Paramount Vantage presents in association with FilmNation Entertainment, Blue Lake Media Fund and Echo Lake Entertainment, a Bona Fide production of NEBRASKA, directed by Alexander Payne from a screenplay written by Bob Nelson. The producers are Albert Berger & Ron Yerxa; and the executive producers are George Parra, Julie M. Thompson, Doug Mankoff and Neil Tabatznik.
WAMG invites you to enter to win a pass (Good for 2) to the advance screening of NEBRASKA on Monday, November 25th.
Answer the following:
Bruce Dern starred alongside three little drones in the brilliant sci-fi movie SILENT RUNNING (1972).
What were their names?
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. ENTER YOUR NAME AND ANSWER IN OUR COMMENTS SECTION BELOW.
