St. Louis-Shot Movie PALACIOS Gets an On-Demand/Streaming Release November 13th

St. Louis-Shot Movie PALACIOS will get an On-Demand/Streaming release on November 13th

Read the We Are Movie Geeks interview with PALACIOS director Robert T. Herrera HERE

Eugene (Olajuwon Davis), an inner-city teen, escapes the streets and hides away on a Midwest rooftop during the early-morning hours of the Fourth of July. Holly (Libby Bibb), a widowed alcoholic who lives in a secluded rooftop dwelling with her precocious Boston terrier, wakes up and discovers the teen hiding out. They commit to spending the holiday together above the city as they wait for a hopeful resolve to Eugene’s situation. Their time together reveals the joys of a newly found friendship and they take in playful experiences with views of the ignored world around them. As the summer day passes into night, their bond grows and the celebratory fireworks begin to explode, but the troubling conflicts of their personal realities begin to catch up with them.

DIRECTOR, ROBERT T. HERRERA: Herrera has directed, produced, edited, developed, consulted and written for dozens of clients, Fortune 500 companies, brands, agencies, production companies and networks. He shot, produced, directed, and edited the feature length documentaries How’s Your Cart? and The Gray Seasons. You can currently see The Gray Seasons on Amazon Prime, EPIX, and other streaming and cable platforms. In 2017, Bobby premiered the no-budget documentary-style feature, Palacios, in the film festival circuit. It was acquired for domestic and international distribution by Freestyle Digital Media for a 2018 Fall release. Bobby was born and raised in Corpus Christi, Texas and attended Baylor University and Washington University in St. Louis where he studied architecture, art, and literature. He develops work for client, brand, entertainment, and fine art use. Bobby lives in St. Louis City with his wife, daughter, and Boston Terrier.

SLIFF 2017 – “And The Winners Are….”

The Urban Chestnut Beer poured freely (because it was free) at the Urban Chestnut Microbrewery  in the Grove neighborhood inSt. Louis last night. It was the closing-night party for the 26th Annual Whitaker St. Louis International Film Festival where the slate of audience-choice and juried-competition winners were announced to an attentive crowd.
SLIFF presented four major filmmaking awards during the course of the 2017 festival:
Charles Guggenheim Cinema St. Louis Award to Dan Mirvish; Women in Film Award to Pam Grier; Lifetime Achievement Awards to Sam Pollard; and the Contemporary Cinema Award to Marco Williams.

Tribeca Film Institute’s IF/Then Short Documentary Pitch Competition

Tribeca Film Institute, in partnership with SLIFF, sought short documentary projects by filmmakers living and working in the Midwest for its new IF/Then Short Documentary Program, made possible with support from the John D. and Catherine T. MacArthur Foundation. Five projects were invited to enter the IF/Then pitch competition earlier this afternoon. A jury then met to determine the winner of up to $20,000 to finish their film and a one-year distribution initiative managed by Tribeca Film Institute.
If/Then Pitch Competition Winner:  “Bridges” directed by Sohib Boundaoui and produced by Assia Boundaoui
If/Then Honorable Mention (and $1,000 cash prize): “On the Bit” directed by Ashley S. Brandon and produced by Nevo I. Shinaar
Interfaith Awards
Juries gives Interfaith Awards to both a documentary and a narrative, choosing from among 10 competition films (five in each category), which were selected for their artistic merit; contribution to the understanding of the human condition; and recognition of ethical, social, and spiritual values.
The 2017 winners:
Best Documentary Feature: “Voices Beyond the Wall: Twelve Love Poems from the Murder Capital of the World”by Bradley Coley
Best Narrative Feature: “Mawlana” by Magdi Ahmed Ali
Midrash Award
Midrash St. Louis engages myriad aspects of American culture – hot topics, deep subjects, music, arts, and film – and seeks to give and receive commentary on the subjects and issues that matter to people in St. Louis and that form and shape our views and lives. The Midrash St. Louis Film Award celebrates St. Louis-related films of honesty and artistry that portray the need or the hope for reconciliation or redemption. These are among the most powerful and worthy themes that films should explore. Eligible work for the Midrash St. Louis Film Award includes feature and short films largely shot in St. Louis or directed by filmmakers with strong local ties. The award comes with a cash prize of $500.
The 2017 winner: “For Ahkeem” directed by Jeremy Levine & Landon Van Soest
Shorts Awards
Juries choose the winners of seven awards from among the shorts in competition. The SLIFF shorts competition is officially sanctioned by the Academy of Motion Pictures Arts and Sciences, making the winners in the Best of Fest, Best Animated, Best Live Action, and Best Documentary categories eligible to submit for Oscar®consideration.
The 2017 winners:
Best Documentary Short: “Crown Candy” by Kamau Bilal & David Wilson
Best Local Short: “Sanctuary” by Ashley Seering & Cory Byers
Best Short Short: “The Shadow” by Isaac Switzer
Best International Short: “Wicked Girl” by Ayce Kartal
Best Animated Short: “Cerulia” by Sofía Carrillo
Best Live-Action Short: “Flip the Record” by Marie Jamora
Best of Fest: “Yes, God, Yes” by Karen Maine
St. Louis Film Critics Association Joe Pollack and Joe Williams Awards
In conjunction with the St. Louis Film Critics organization, SLIFF holds juried competitions for documentary and narrative features. The awards are named in honor of the late St. Louis Post-Dispatch critics Joe Pollack (narrative) and Joe Williams (documentary). The winners are picked by two juries composed of St. Louis film critics. SLIFF chose eight films to compete in each category.
The 2017 winners:
Best Documentary Feature: “When I Was 6, I Killed a Dragon” directed by Bruno Romy
Best Narrative Feature: “Black Cop” by Cory Bowles
New Filmmakers Forum Emerging Director Award (The Bobbie)
The New Filmmakers Forum (NFF) annually presents the Emerging Director Award. Since its inception, NFF was co-curated by Bobbie Lautenschlager. Bobbie died in the summer of 2012, and SLIFF honors her memory by nicknaming the NFF Emerging Director Award as the Bobbie. Five works by first-time feature filmmakers competed for the prize, which includes a $500 cash award.
The 2017 winners:
Special Award for Outstanding Performance: Olajuwon Davis, “Palacios”
Emerging Director Award (“The Bobbie”): “Becks” by Liz Rohrbaugh and Dan Powell
Best of Fest Audience Choice Awards
Audience voting determines the winner of three awards from among the films in competition.
The 2017 winners:
 
Leon Award for Best Documentary Film: “Gabe” by Luke Terrell
TV5MONDE Award for Best International Film: A sensual, transcendent tale of first love – adapted by James Ivory from the acclaimed novel by André Aciman, this highly regarded film debuted at 2017 Sundance Film Festival. “Call Me By Your Name by Luca Guadagnino


Best Film: Based on the memoirs of Fanny Ben-Ami, this inspiring film is an incredible tale of bravery, strength, and survival – the story of a daring young girl who will stop at nothing and fear no one. “Fanny’s Journey” by Lola Doillon

SLIFF 2017 Interview: Robert T. Herrera – Writer and Director of PALACIOS

PALACIOS screens Saturday, November 11th at 2:00pm at The Tivoli Theater (6350 Delmar Blvd, St. Louis) as part of this year’s St. Louis International Film Festival. Ticket information can be found HERE.

Eugene, an inner-city teen, escapes the city streets and hides away on a Midwest city rooftop during the Fourth of July holiday. He is found by Holly, a widowed alcoholic, who lives in the secluded rooftop dwelling with her Boston terrier. They commit to spending the day together above the city as they wait for a hopeful resolution to Eugene’s situation. As the day passes, a friendship grows even as their personal realities begin to catch up with them.

Robert T. Herrera, writer and director of PALACIOS, took the time to answer questions about his film for We Are Movie Geeks.

Interview conducted by Tom Stockman

Tom Stockman: What was your filmmaking experience before PALACIOS?

Robert Herrera: PALACIOS is technically my third feature film. My first film was a documentary that I never had the opportunity to release. I still think that first doc is my best film to date unfortunately. My second documentary, The Gray Seasons, was my first released film and Palacios is my first narrative film. I went to college for architecture, art, and philosophy. So making a feature doc was basically my film school. Professionally, I freelance produce, direct, and edit spots and brand content for clients, production companies, and networks around the country. While that isn’t “filmmaking” — it greatly influences what I do and how I do it. So, ultimately, I’ve been doing this for about 13 years now.

TS: How did you become interested in films? Did you grow up a movie fan?


RH: I’m a pretty classic case. I’ve wanted to make movies since I was a 5-year-old kid in South Texas. I was raised on a lot of media — probably a pretty unhealthy amount of movies, tv, and comics. But in the end I turned out relatively normal and pretty knowledgeable about ‘story’ I think. But most of my life has been focused around art and movies.

TS: Who are some of your favorite filmmakers?

RH: It mostly just depends on my mood. Of course I like a bunch of classic old dudes from Hitchcock to Malick to Altman. I really didn’t discover foreign films until college — and there are too many names to list there. As far as modern American filmmakers – of course, I love all-things Paul Thomas Anderson. Over the course of my recent career I’ve really been taken with Kelly Reichardt, Derek Cianfrance, and many others. And internationally I’m usually pretty excited about the next Wong Kar-wai, Andrea Arnold, Jonathan Glazer, and Dardenne brothers projects. I indulge in plenty of Hollywood fare also. And I’m a sucker for basically any dog movie — from 2014’s Hungarian film, White God, to 8 Below with Paul Walker. How can you not like dog movies?

TS: How did the script for PALACIOS come about and how long did it take you to write it?

RH: I usually refer to Palacios as a film not really written, but designed. Its creation revolved around what resources were available to me and what sort of “moments” I was living in at the time. It was designed around a few simple concepts, people, and locations. I collected those elements in my little brain and tried to develop something that 1. I understood enough to write 2. made efficient use of everything available to us and 3. felt “real” — for whatever that is worth. Once I knew WHO would be in there film, WHERE it would be shot, and HOW it would be shot — I wrote 2/3rds of a shooting script in a week. The entire 2nd act of the film was written during shooting or made up on the spot.

TS: Were these characters in PALACIOS based on people you knew?

RH: Yes and No. I really didn’t ask either actor to play someone that much different from themselves. Their backstories were developed between myself and actors. A lot of their interactions were based on interactions or relationships I’ve experienced.

TS: Tell me about casting Libby Bibb in the role of Holly. Were there other actresses you considered?

RH: I’ve known Libby Bibb since about 2004 I think. I was a finalist in a script contest and she was assigned to read the lead female character during the readings the contest organized. I loved her read. She was so natural and full of nerves and nuance. And she made it look so easy. We became friends and I pondered different film ideas for her over the years. Once it finally came time to make something in 2013 – I knew it would be for her. No other actress was considered. I don’t know if she would agree 100%, but I feel like her and I have a very similar mindset on what we want to see on camera during a performance. I think we have the same goals in that regard. Whether she thinks we achieve them – I can’t say. But I feel like we do.

TS: Your leading man, Olajuwon Davis, is currently serving a long prison term for a serious crime. Did his legal troubles start after your film had wrapped? What were your thoughts when you heard about the trouble he was in?

RH: This is a loaded conversation. I’ll just try and give simple answers along with my general feeling of the situation. We shot this film in the summer of 2013. My life and workload slowed down the edit process. His arrest came in November 2014, days before the non-indictment of Darren Wilson. That in itself is a long story, but it was a major shock to all that know him. The story surrounding his arrest and crime aren’t a full picture – and in my opinion – a distorted picture. And people that know Olajuwon, including most of us that made the film, feel that. His situation is one of the main reasons I waited this long to edit this project — and I almost didn’t finish it. But after long talks with Olajuwon, my crew, my wife, and just people that are important to my life and work — we decided to finish it. Olajuwon and his family are very supportive of the film. My crew and my family are still very supportive of Olajuwon and very much believe in him and who he is despite what is said and written. He is doing well. We talk regularly. He is very excited about the film. He just won Breakthrough Performance at the Jim Thorpe Independent Film Festival at our premiere in June along with us winning Best Feature. He is proud of the film and in his words – he intends to get out soon, get his life back on a positive track, and plans to stay involved in creative ventures, acting, and being a positive force in the world and in the lives around him. When you see his character in PALACIOS  — that’s basically Olajuwon Davis. I think people would have a hard time reconciling who they see on screen versus what they read about him — and I think that is something to think about when you read about all the young minorities out in this country who are considered irredeemable criminals.

TS: Tell me about the Boston Terrier.

RH: Of course! That’s my dog, Ingebar! He is a very expressive little guy – and not trained to do much of anything. Ingebar does what Ingebar does. Fortunately, he’s super predictable if you offer him tons of chicken tenders. So, he was really easy to work with on location — especially since that location was our home. In many cases, he shocked us with how well he took to just living his normal life on camera. He is full of so much attitude — and like I said earlier, I love dogs in films. This story needed him for balance and pacing — and in many ways he serves as a nonjudgmental figurehead — or completely judgmental — depending on how you view the movie. I wanted to put my shar-pei, George, in the movie too. But that crazy dude was as unpredictable as they come.

TS: Your previous feature was a doc about women’s basketball. What are some of the key differences between doc and narrative filmmaking? What would you like your next film to be?

RH: Obviously, from a logistical standpoint, everything is different. But in terms of story – I don’t see much of a difference. I mostly have the same goals with anything I make at this point in my career. I know this much – when making a documentary, I feel all the anxiety while in production. It’s not in my nature to be all up in peoples’ business the way you need to be for a good doc. But I feel completely at ease once I edit the film and screen it. In that case, I feel like I have done all that I could do to make that the best film possible. With narrative film – it’s the opposite. I feel no anxiety about the writing, development, shooting, and making the film. But when it comes time to screen it, I’m very anxious about it. I just shot a narrative short. And have plans to shoot another narrative feature in Summer 2018. I’d happily make another doc if one reveals itself – and there are many doc ideas currently in play, but narrative will be a priority for a while.

TS: What do you think of the local film scene? What do you think St. Louis has to offer for filmmakers?

RH: I have mixed feelings about the local film scene in St. Louis. I travel and direct commercial and client work in many different cities and markets across the country — so I get a pretty good feel for what is going on in those regions and cities, and many times it makes me frustrated about trying to make a film in St. Louis. Of course there is a flipside that makes me say, “this could only be done in St. Louis or a place like it.” So I see both sides of the coin. With that said, I have no burning desire to be anywhere else. I have been in St. Louis since 2002 and all my films have been made here. PALACIOS is very much a product of a Mexican-American Texan who lives in St. Louis City. And that’s a good thing. If all goes according to plan, my next feature will be shot in South Texas – but I will be bringing a lot of St. Louis with me to get it made.

TS: What St. Louis locations did you use for PALACIOS?

RH: The film was shot in my “unique living space” on Delmar at the north end of the Central West End. This rooftop, and how I came to be there for 8 years, is a long story that I won’t get into. But I always knew I wanted to shoot something there. I don’t know what percentage of the film takes place there — maybe 90%? But it was basically all on that roof, around the building and around the block — aside from picking up a few shots at the Grand Metro Station.

TS: What are your release plans for PALACIOS?

RH: PALACIOSw as made with zero expectations. It was made out of pure desire to experiment and to work in a way that made sense to us. That’s not to downplay its importance to us. It’s a film that we care about greatly. But we made it, we loved the process that we developed while making it, and we think we achieved what we set out to achieve. So, the release will be pretty standard. I’ll be curious to see response to PALACIOS throughout its festival life. So far, that response as been pretty great. My last film, The Gray Seasons, was able to fight its way thru festivals and ultimately land exciting distribution. Maybe that same route is in the cards for PALACIOS. I think we’re pretty okay at making watchable films. I’m not much for developing exciting distribution plans after its made. But the experience and connections made with my last film and through my commercial work should add to our ability to get this small film out there.

TS: How has PALACIOS been received so far?

RH: Response has been pretty overwhelming by those that have watched it so far. I’ve had some pretty intense discussions with audience members about not only the story and content, but just how we made this film in general. Our most recent screening in Jim Thorpe, Pennsylvania was pretty amazing. The crowd there was pretty taken aback. And we were given Best Feature, Best Actress, and Breakthrough Performance. It’s nice when people find value in what you do — however they qualify that value.

SLFS Interview – Robert T. Herrera: Writer and Director of PALACIOS

PALACIOS screens Sunday, July 16 at 4:45pm at the Tivoli Theater (6350 Delmar Blvd, St. Louis) as part of this year’s St. Louis Filmmaker’s Showcase.

Ticket information can be found HERE

Eugene, an inner-city teen, escapes the city streets and hides away on a Midwest city rooftop during the Fourth of July holiday. He is found by Holly, a widowed alcoholic, who lives in the secluded rooftop dwelling with her Boston terrier. They commit to spending the day together above the city as they wait for a hopeful resolution to Eugene’s situation. As the day passes, a friendship grows even as their personal realities begin to catch up with them.

Robert T. Herrera, writer and director of PALACIOS, took the time to answer questions about his film for We Are Movie Geeks in advance of it’s screening at the St. Louis Filmmaker’s Showcase.

Interview conducted by Tom Stockman

Tom Stockman: What was your filmmaking experience before PALACIOS?

Robert Herrera: PALACIOS is technically my third feature film. My first film was a documentary that I never had the opportunity to release. I still think that first doc is my best film to date unfortunately. My second documentary, The Gray Seasons, was my first released film and Palacios is my first narrative film. I went to college for architecture, art, and philosophy. So making a feature doc was basically my film school. Professionally, I freelance produce, direct, and edit spots and brand content for clients, production companies, and networks around the country. While that isn’t “filmmaking” — it greatly influences what I do and how I do it. So, ultimately, I’ve been doing this for about 13 years now.

TS: How did you become interested in films? Did you grow up a movie fan?


RH: I’m a pretty classic case. I’ve wanted to make movies since I was a 5-year-old kid in South Texas. I was raised on a lot of media — probably a pretty unhealthy amount of movies, tv, and comics. But in the end I turned out relatively normal and pretty knowledgeable about ‘story’ I think. But most of my life has been focused around art and movies.

TS: Who are some of your favorite filmmakers?

RH: It mostly just depends on my mood. Of course I like a bunch of classic old dudes from Hitchcock to Malick to Altman. I really didn’t discover foreign films until college — and there are too many names to list there. As far as modern American filmmakers – of course, I love all-things Paul Thomas Anderson. Over the course of my recent career I’ve really been taken with Kelly Reichardt, Derek Cianfrance, and many others. And internationally I’m usually pretty excited about the next Wong Kar-wai, Andrea Arnold, Jonathan Glazer, and Dardenne brothers projects. I indulge in plenty of Hollywood fare also. And I’m a sucker for basically any dog movie — from 2014’s Hungarian film, White God, to 8 Below with Paul Walker. How can you not like dog movies?

TS: How did the script for PALACIOS come about and how long did it take you to write it?

RH: I usually refer to Palacios as a film not really written, but designed. Its creation revolved around what resources were available to me and what sort of “moments” I was living in at the time. It was designed around a few simple concepts, people, and locations. I collected those elements in my little brain and tried to develop something that 1. I understood enough to write 2. made efficient use of everything available to us and 3. felt “real” — for whatever that is worth. Once I knew WHO would be in there film, WHERE it would be shot, and HOW it would be shot — I wrote 2/3rds of a shooting script in a week. The entire 2nd act of the film was written during shooting or made up on the spot.

TS: Were these characters in PALACIOS based on people you knew?

RH: Yes and No. I really didn’t ask either actor to play someone that much different from themselves. Their backstories were developed between myself and actors. A lot of their interactions were based on interactions or relationships I’ve experienced.

TS: Tell me about casting Libby Bibb in the role of Holly. Were there other actresses you considered?

RH: I’ve known Libby Bibb since about 2004 I think. I was a finalist in a script contest and she was assigned to read the lead female character during the readings the contest organized. I loved her read. She was so natural and full of nerves and nuance. And she made it look so easy. We became friends and I pondered different film ideas for her over the years. Once it finally came time to make something in 2013 – I knew it would be for her. No other actress was considered. I don’t know if she would agree 100%, but I feel like her and I have a very similar mindset on what we want to see on camera during a performance. I think we have the same goals in that regard. Whether she thinks we achieve them – I can’t say. But I feel like we do.

TS: Your leading man, Olajuwon Davis, is currently serving a long prison term for a serious crime. Did his legal troubles start after your film had wrapped? What were your thoughts when you heard about the trouble he was in?

RH: This is a loaded conversation. I’ll just try and give simple answers along with my general feeling of the situation. We shot this film in the summer of 2013. My life and workload slowed down the edit process. His arrest came in November 2014, days before the non-indictment of Darren Wilson. That in itself is a long story, but it was a major shock to all that know him. The story surrounding his arrest and crime aren’t a full picture – and in my opinion – a distorted picture. And people that know Olajuwon, including most of us that made the film, feel that. His situation is one of the main reasons I waited this long to edit this project — and I almost didn’t finish it. But after long talks with Olajuwon, my crew, my wife, and just people that are important to my life and work — we decided to finish it. Olajuwon and his family are very supportive of the film. My crew and my family are still very supportive of Olajuwon and very much believe in him and who he is despite what is said and written. He is doing well. We talk regularly. He is very excited about the film. He just won Breakthrough Performance at the Jim Thorpe Independent Film Festival at our premiere in June along with us winning Best Feature. He is proud of the film and in his words – he intends to get out soon, get his life back on a positive track, and plans to stay involved in creative ventures, acting, and being a positive force in the world and in the lives around him. When you see his character in PALACIOS  — that’s basically Olajuwon Davis. I think people would have a hard time reconciling who they see on screen versus what they read about him — and I think that is something to think about when you read about all the young minorities out in this country who are considered irredeemable criminals.

TS: Tell me about the Boston Terrier.

RH: Of course! That’s my dog, Ingebar! He is a very expressive little guy – and not trained to do much of anything. Ingebar does what Ingebar does. Fortunately, he’s super predictable if you offer him tons of chicken tenders. So, he was really easy to work with on location — especially since that location was our home. In many cases, he shocked us with how well he took to just living his normal life on camera. He is full of so much attitude — and like I said earlier, I love dogs in films. This story needed him for balance and pacing — and in many ways he serves as a nonjudgmental figurehead — or completely judgmental — depending on how you view the movie. I wanted to put my shar-pei, George, in the movie too. But that crazy dude was as unpredictable as they come.

TS: Your previous feature was a doc about women’s basketball. What are some of the key differences between doc and narrative filmmaking? What would you like your next film to be?

RH: Obviously, from a logistical standpoint, everything is different. But in terms of story – I don’t see much of a difference. I mostly have the same goals with anything I make at this point in my career. I know this much – when making a documentary, I feel all the anxiety while in production. It’s not in my nature to be all up in peoples’ business the way you need to be for a good doc. But I feel completely at ease once I edit the film and screen it. In that case, I feel like I have done all that I could do to make that the best film possible. With narrative film – it’s the opposite. I feel no anxiety about the writing, development, shooting, and making the film. But when it comes time to screen it, I’m very anxious about it. I just shot a narrative short. And have plans to shoot another narrative feature in Summer 2018. I’d happily make another doc if one reveals itself – and there are many doc ideas currently in play, but narrative will be a priority for a while.

TS: What do you think of the local film scene? What do you think St. Louis has to offer for filmmakers?

RH: I have mixed feelings about the local film scene in St. Louis. I travel and direct commercial and client work in many different cities and markets across the country — so I get a pretty good feel for what is going on in those regions and cities, and many times it makes me frustrated about trying to make a film in St. Louis. Of course there is a flipside that makes me say, “this could only be done in St. Louis or a place like it.” So I see both sides of the coin. With that said, I have no burning desire to be anywhere else. I have been in St. Louis since 2002 and all my films have been made here. PALACIOS is very much a product of a Mexican-American Texan who lives in St. Louis City. And that’s a good thing. If all goes according to plan, my next feature will be shot in South Texas – but I will be bringing a lot of St. Louis with me to get it made.

TS: What St. Louis locations did you use for PALACIOS?

RH: The film was shot in my “unique living space” on Delmar at the north end of the Central West End. This rooftop, and how I came to be there for 8 years, is a long story that I won’t get into. But I always knew I wanted to shoot something there. I don’t know what percentage of the film takes place there — maybe 90%? But it was basically all on that roof, around the building and around the block — aside from picking up a few shots at the Grand Metro Station.

TS: What are your release plans for PALACIOS?

RH: PALACIOSw as made with zero expectations. It was made out of pure desire to experiment and to work in a way that made sense to us. That’s not to downplay its importance to us. It’s a film that we care about greatly. But we made it, we loved the process that we developed while making it, and we think we achieved what we set out to achieve. So, the release will be pretty standard. I’ll be curious to see response to PALACIOS throughout its festival life. So far, that response as been pretty great. My last film, The Gray Seasons, was able to fight its way thru festivals and ultimately land exciting distribution. Maybe that same route is in the cards for PALACIOS. I think we’re pretty okay at making watchable films. I’m not much for developing exciting distribution plans after its made. But the experience and connections made with my last film and through my commercial work should add to our ability to get this small film out there.

TS: How has PALACIOS been received so far?

RH: Response has been pretty overwhelming by those that have watched it so far. I’ve had some pretty intense discussions with audience members about not only the story and content, but just how we made this film in general. Our most recent screening in Jim Thorpe, Pennsylvania was pretty amazing. The crowd there was pretty taken aback. And we were given Best Feature, Best Actress, and Breakthrough Performance. It’s nice when people find value in what you do — however they qualify that value.

St. Louis Filmmakers Showcase Begins July 16th at The Tivoli

Shorts programs, narrative features, documentaries, and free beer – St. Louis style!

The Whitaker St. Louis Filmmakers Showcase, an annual presentation of the nonprofit Cinema St. Louis, serves as the area’s primary venue for films made by local artists. The Showcase screens works that were written, directed, edited, or produced by St. Louis natives or films with strong local ties. The 15 film programs that screen at the Tivoli from July 16-20 serve as the Showcase’s centerpiece. The programs range from full-length fiction features and documentaries to multi-film compilations of fiction and documentary shorts. Many of the programs with feature-length films include post-screening Q&As with filmmakers.

All films will be screened at The Tivoli Theater (6350 Delmar)

Look for more coverage of The St. Louis Filmmakers Showcase here at We Are Movie Geeks in the coming days including interviews with the filmmakers and reviews of the film. 

Tickets: $13
Cinema St. Louis Members: $10
Students: $10 (with valid photo ID)
A&E Arts Card Holders: $10

Buy advance tickets at the Tivoli Theatre box office (4-10 p.m. Monday-Friday and noon-10 .p.m. Saturday-Sunday) or online.
Online sales are limited to full-price tickets only with an additional $1 per-ticket service charge. Bring the credit card used for purchase and confirmation number to the box office to receive tickets.

Here’s this year’s line-up:

Doc Shorts 1  – Sunday, Jul. 16 at 12:30pm

Family Rewritten Yasmin Mistry – 13 min. – A typical middle-class American teenager, Camilla finds herself in foster care just months before her 18th birthday.

I Am The Dance of Life – Randy Shinn – 35 min.  Controversial transgender performance artist Susan Stone dances at music events in St. Louis and pushes the envelope of free expression.

Mike Sidwell, Strongman – Brian Jun – 6 min. – Mike Sidwell talks about his journey and desire to be strong.

Phantom Glory: The Bob Little Story – Jacqui Poor – 15 min. – After flying 68 combat missions during World War II, Bob Little became a flight engineer/test pilot for the McDonnell Aircraft corporation.

The Terrifying Jellyfish: A Tj Hughes Biography – Ryan Fitzgerald – 4 min. – A portrait of up-and-coming digital artist Tj Hughes.

Tory Z Starbuck – Megan Griesenauer & Andrea Williams – 15 min. – Tory Z Starbuck has been composing, recording, and performing experimental rock music in St. Louis since the 1980s.

Experimental Shorts  – Sunday, Jul. 16 at 2:30pm

Bearing Witness – Jun Bae – 5 min. – An audiovisual tone poem that encourages us to re-examine the memories that ultimately define our identity.

Busy Do – Brandon Joseph Eckert – 4 min. – An ex-gangster’s life is told through a PI’s voicemail to “Tony.”

Colorado | True Nature – Hieronymus Cole  – 5 min. – An immersion in Colorado’s scenic beauty.

Down at Dusk – Kat Cory – 5 min. – A natural landscape is transformed into the abstract in a visual exploration of the Zen Buddhist concept of ox herding.

An Empty Bliss – Will Morris – 3 min. – After drinking absinthe at a picnic, a young couple starts hallucinating.

Even The Birds Know It – Zlatko Cosic & Rachel Cosic – 3 min. – St. Louis birds share their views about the environment and the sociopolitical climate.

Exit – Jacob Zavertnik – 17 min. – After an irreplaceable loss, a man confronts the visual manifestation of his grief to decide between acceptance or stagnation.

Hypervide – Natalie Rainer – 3 min. – This ode to nature is a lively combination of organic and digital processes.

Linear Motion – Leilei Wu – 3 min. – An exploration of the linear motion found in nature, ranging from car rides to water flowing on the window of an aircraft.

Ocean Breathes – Yihuang Lu –  1 min. – Undulating patterns of light and motion set upon a great body of water.

The Other Room – Shaun Gavin – 5 min. – A man awakens in a mysterious room and encounters myriad strange phenomena while attempting to care for some exotic cacti.

Shadow Track – Xiaoti – 4 min. – The vitality of nature is visualized in the simple black-and-white world of shadows.

Story 1: Scenes 1-9 – Zlatko Cosic – 5 min. – A multi-narrative experience in nine scenes.

Stung – Larry Ziegelman – 4 min. – In this dark music video, a heartbroken ex-boyfriend pines for the girl he still loves even after she begins a new relationship.

Summer Louis – Davey Rocco – 5 min. – A meandering visual exercise of nature’s interaction with man-made structures.

That’s What You Get For Grabbing – Zlatko Cosic – 4 min. – Abstract explorations of society from the Women’s March in St. Louis on Jan. 21, 2017.

Turntable – Wyatt Weed – 4 min. – A music video for the original song “Turntable” by St. Louis artist Abigail Stahlschmidt.

You Look Like A Squirrel – Yuhan Zhang – 4 min. – It’s hard out there for a squirrel.

Palacios – Sunday, Jul. 16 at 4:45pm

Directed by Robert T. Herrera. Eugene, an inner-city teen, escapes the city streets and hides away on a Midwest city rooftop during the Fourth of July holiday. He is found by Holly, a widowed alcoholic, who lives in the secluded rooftop dwelling with her Boston terrier. They commit to spending the day together above the city as they wait for a hopeful resolution to Eugene’s situation. As the day passes, a friendship grows even as their personal realities begin to catch up with them.

Narrative Shorts 1 – Sunday, Jul. 16 at 7:15pm

Bouquets & Banana Peels – Spencer Elmore – 16 min. – Two brothers comically confront a lifetime of issues during a community-theater production.

Concession Standoff – Peter Grayson – 10 min. – Two movie-theater co-workers determine who has to train a new employee by involving him in a nerdy, spirited debate about their favorite movies.

Dream on Pig Boy – Ben Christensen & Ian Gibbs – 12 min. – Two amateur playwrights attempt to put on a production of their bizarre new play.

In A Mad House – Tim Mitten – 6 min. – A woman confronts her abusive ex-husband and finds that he has found another victim.

The Inside Job – Brooke Jolley – 4 min – Special Agent Lane faces her archnemesis after several years of desperate searching only to find out more than she is prepared to stomach.

Max Vice – Kyle Niehaus – 25 min. – Max Vice — a no-nonsense cop from the 1980s with a love of booze, cocaine, and, above all, justice — awakens from a 30-year coma to find himself irrelevant in an unfamiliar world.

Swipe Right – Brooke Johnson – 9 min. – When a young man is dumped by his girlfriend, he decides to plunge into the world of dating apps but virtual love proves no less complicated than the real thing.

Table 21 – Brooke Jolley – 20 min. – A nosy and overzealous waiter gets obsessively wrapped up in the personal affairs of a mysterious couple.

Tonight She Comes – Sunday, Jul. 16 at 9:30pm

Directed by Matt Stuertz. After a girl goes missing, two of her friends and a mysterious set of strangers find themselves drawn to the cabin in the woods where she disappeared. They will laugh, they will drink, they will kiss, they will make love — and most of them will die

Narrative Shorts 2 – Monday, Jul. 17 at 5:00pm

Be Light – Damon Gaige Leco – 3 min. – Roaming the ruins of a collapsed civilization, a higher being highlights the unsustainable trajectory and contradictions of an ego-driven society.

Breakdown – Rexx Villotti – 13 min. – After their car breaks down on the side of the road, the rocky relationship between Jeff and Louise is strained to the point of failure.

Egg – Brandon Joseph Eckert – 3 min. – Six greasers and an egg — the possibilities are endless.

Lester Leaps In – Mike Steinberg – 30 min. – At a lumber mill in 1970s Montana, a middle manager struggles to produce a safety film.

The Night Owl – Anthony Nicolau – 12 min. – A dark story of miscommunication and conflict between two neighbors living in New York City.

Trich – Isaac Knopf – 17 min. – As preparation for a high-priority pitch at work intensifies, Ethan develops an uncontrollable urge to pull out his hair.

Narrative Shorts 3 – Monday, Jul. 17 at 7:00pm

Alliance – Andres Colonna – 14 min. – An alien living on Earth discovers that he has been betrayed.

Coup De Grace – Michael Tilly Parks – 15 min. – A soldier must prove his loyalty to a totalitarian government by serving as a one-man firing squad.

Extricated – Will Reddell – 5 min. – Haunted by his past, a man finds he can run. But can he ever escape?

Little Drummer Girl – Chris Benson – 20 min. – At the peak of the Civil War, a father is forced to make a grave decision after the loss of his family.

Mage Arc Zero – Aaron Stolze – 8 min. – A supernatural trainee learns to value his gift while letting go of his ambitions.

Oberon (The Sentient Sword) – Alexander Hernandez – 5 min. – A clever thief steals the mighty sword Oberon, but the blade only wants to return to its master.

Redemption – Cesar Encalada – 18 min. – Post-Civil War, three outlawed brothers flee their town after gunning down the local authorities. Exhausted and with no resources, they plan to raid a dilapidated farmhouse and rob the sickened landlord.

Saving Buck – Cesar Encalada – 13 min. – An American paratrooper is lost behind enemy lines in Europe during World War II.

Narrative Shorts 4 – Monday, Jul. 17 at 9:30pm

Driver’s Ed – Chase Norman – 15 min. – A shy, overweight young woman leaves the safety of her home for an unwelcoming high-school classroom.

El Almuerzo – Jocelyn Cooper – 15 min. – After the death of their father and withdrawal of their mother, a brother and his two sisters in El Paso, Texas, in the 1970s attempt to piece their shattered lives back together.

The Gift – Tim Garrett – 6 min. – A young girl comes to terms with life in her new family.

Here And There – Janie Schlie – 10 min. – A young college student and an elderly florist find friendship in one another on a lonely holiday.

Sir – Luiz Costa Cruz – 12 min. – A transgender youth makes a difficult choice for the future.

Switching Gears – Rebecca Clayton – 8 min. – A mechanic seeks solace following the death of her father by finally completing his last project: fixing up an antique car.

Taste – Hors D’Oeuvre – Jørgen Pedersen – 15 min. – A young, stubborn chef tries to work through a surprise birthday party that blows up in her face.

An Uber Tale – Lynelle White – 8 min. – Two strangers, a guy and girl, share an Uber. Although there’s clearly an attraction between them, neither is able to initiate conversation, so they ride on. And on. And on.

Waiting to Die in Bayside, Queens – Garrett Tripp – 6 min. – A frizzy-haired hypochondriac who’s convinced she’s dying, 15-year-old Jordyn lives in a small co-op apartment in the predominantly Jewish middle-class suburb of Bayside Queens in 1976.

500: The Impact of The Reformation Today – Tuesday, Jul. 18 at 5:00pm

Directed by Dale Ward. Renowned Luther scholars from around the world reveal how the Reformation affects us in multiple ways, with a lone monk’s actions 500 years ago continuing to resonate profoundly in today’s world. This thought-provoking documentary was four years in the making, with portions shot on location throughout Germany, where the actual Reformation events occurred.

Atomic Homefront – Tuesday, Jul. 18 at 7:30pm

Directed by Rebecca Cammisa. St. Louis has a little-known nuclear past as a uranium-processing center for the atomic bomb. Government and corporate negligence led to the dumping of Manhattan Project uranium, thorium, and radium, thus contaminating North St. Louis suburbs, specifically in two communities: those along Coldwater Creek, where residents have high rates of very rare cancers, birth defects, and various autoimmune disorders that are potentially linked to ionizing radiation poisoning; and in Bridgeton, adjacent to the West Lake-Bridgeton landfill, where an uncontrolled subsurface fire has been moving toward an area where the radioactive waste was buried. Just Moms STL, a group of mothers-turned-advocates, believes their communities are being poisoned and demands that the government either fully remove the waste or permanently relocate residents living nearest the landfill. At the same time, the grassroots organization Coldwater Creek — Just the Facts Please is working to educate the community and healthcare professionals and to promote community inclusion in the Radiation Exposure Compensation Act. “Atomic Homefront” — from HBO Documentary Films — spotlights these citizen advocates, mostly women, who have mobilized to get answers, creating a powerful coalition that continues to fight for environmental justice.

Dev Diary – Wednesday, Jul. 19 at 5:00pm

Directed by James Reichmuth and Alessio Summerfield. Although St. Louis game designers the Coster brothers — Adam, Sam, and Seth — have a reputation for developing projects quickly, they have spent the last two years working on only one game. Sam’s dream game, “Crashlands” has helped him battle cancer as he struggles with Stage 4B lymphoma.

Narrative Shorts 5 – Wednesday, Jul. 19 at 7:00pm

Damage Over Time – Chris Null – 16 min. – A compulsive gamer reaches rock bottom.

Greg’s Going to Rehab – Chris Lawing – 15 min. – It’s 1986, and 15-year-old Greg is off to rehab for screwing up … but not before one last party!

Richie and the Styles – Aaron Landgraf – 24 min. – At the end of a long tour, a struggling jazz band receives news that the founder of an esteemed record label is to attend their next show.

Rob in The Hood – Greg Sporleder – 18 min. – A modern-day version of the classic tale.

Spitting Image – Maxine Du Maine – 9 min. – Jerome experiences the consequences of the unending cycle of gang violence in his urban community.

Stronger – Spencer Elmore – 11 min. – A hockey-playing son reaches a crisis point with his overbearing and abusive father.

Narrative Shorts 6 – Wednesday, Jul. 19 at 9:15pm

Blink– Peter Carlos – English/French – 4 min. – A dying man tries to hang on until his killers are brought to justice.

Bob – John Gross – 25 min. – A gay couple moves into their first apartment together and experiences paranormal activity.

Cursed World Problems – Stephen Province – 5 min. – A group of supernatural individuals vent to each other in a special support group.

Dead Air – Abby Zahuranec – 9 min. – A man finds himself in a tight place between a dangerous criminal, his loved ones, and a mysterious hotel television.

Deal Breaker – J. Miller – 6 min. – A man struggles to rent out the spare room in his apartment.

Done Deal – Cory Mack – 9 min. – Faced with signing away the memories of her dead son, a woman stands up for herself.

The Runt – Beth Ashby – 12 min. – Waking up after a nearly successful suicide attempt, Chelsea is greeted by a Dr. Carter, but as the physician questions her, she begins to wonder whether something much stranger is at work.

Shadows – Camila Morales – 4 min. – Nearing the end of his life, a man is haunted by the shadows of a past tragedy.

Spooky Sweets – Abby Zahuranec – 9 min. – A boy is forced to go trick-or-treating by his well-meaning mother as he deals with the loss of his father.

What’s Written – Alex Van Almsick & Joe Hellberg – 8 min. – A struggling writer discovers he must choose between the life of a child and the publication of his work.

Doc Shorts 2 – Thursday, Jul. 20 at 5:00pm

48 Hours to France – Mike Rohlfing – 32 min. – The story of how a short film made in just two days found its way to the Cannes Film Festival.

Blues & Ragtime: The Sounds of St. Louis – St. Louis Artworks – 11 min. – The story of how ragtime music — with it local roots — became the foundation for much of modern blues, R&B, and hip-hop.

Displaced & Erased – Emma Riley – 7 min. – The history of Clayton’s uprooted former black community.

Heartbeat – Hadley Schnuck – Spanish – 5 min. – A journey through Central Havana to the percussive sound of “Song to Elegua,” the Santería deity who unites the earthly and the divine.

Just Listening: A Short Film About Art And Activism – Dan Parris & Missouri Humanities Council – 21 min. – Exploring art as both a reaction to tragedy and a form of activism, “Just Listening” interviews artists about their response to Michael Brown’s death.

Sanctuary – Ashley Seering & Cory Byers – 8 min. – An abandoned church gets an unexpected second chance as a skate park.

Seed The Change – Jessica R Witte, Meridith Mckinley & Brad Witte – 4 min. – A 400-foot-long drawing made of birdseed is created over the course of a day on the riverfront below the Arch.

Under The Glass – Levi Barnes – 8 min. – Pinball is making a comeback, but did it ever really go away?

Gabe – Thursday, Jul. 20 at 7:30pm

No parent should have to bury their child, but that was the reality the Weils faced when their son Gabe was diagnosed with Duchenne muscular dystrophy. Told he would not live past 25, Gabe made it his life goal to earn a college degree. Then, during his senior year of college, he received a new diagnosis, doubling his life expectancy overnight. This unforeseen scenario, though remarkable, presented Gabe with a complicated obstacle: creating a future for which he had never planned in a world that often forgets he exists.

Closing-Night Awards Party – Thursday, Jul. 20 at 8:00pm

Cinema St. Louis announces the Showcase films chosen for inclusion in the Whitaker St. Louis International Film Festival, and a jury gives awards to the best Showcase films. Complimentary Kräftig beer is served, and a cash bar is available. Attendees must be 21 or older.