Our feature film lineup for the 17th annual Tribeca Film Festival champions the discovery of emerging voices and the celebration of new work from established filmmaking talent. This year, we’re closing the festival with the world premiere of The Fourth Estate, from Oscar®-nominated director Liz Garbus, which follows the New York Times’ coverage of the Trump administration’s first year. Our centerpiece gala is the world premiere of Drake Doremus’ sci-fi romance Zoe, starring Ewan McGregor, Léa Seydoux, Rashida Jones, and Theo James. The 2018 Tribeca Film Festival takes place April 18th to the 29th.
The 2018 feature film program includes 96 films from 103 filmmakers. Of the 96 films, 46% of them are directed by women, the highest percentage in our festival’s history. The lineup includes 74 world premieres, 6 international premieres, 9 North American premieres, 3 U.S. premieres, and 4 New York premieres from 27 countries. This year’s program includes 46 first time filmmakers, with 18 directors returning to the festival with their latest feature film projects. Tribeca’s 2018 slate was programmed from more than 8,789 total submissions.
“We are proud to present a lineup that celebrates American diversity and welcomes new international voices in a time of cultural and social activism,” said Paula Weinstein, Executive Vice President of Tribeca Enterprises. “Our films succeed in being both entertaining and illuminating which is what you desire from great storytellers.”
“In a year that has reminded us more often of our divisions than our connections, this Festival’s program embraces film’s unique power to overcome differences — that connecting with stories not our own is the road into our deeply programmed human capacity for empathy and understanding,” said Cara Cusumano, Tribeca’s Director of Programming. “We hope that in representing a wealth of undiscovered stories and unique perspectives- including those of a record number of female directors — these 96 films offer a collective journey towards narrower divides and smaller obstacles.”
“For our program this year, we have curated a selection of filmmakers whose distinct voices illuminate the world around us. Audiences can choose their cinematic journeys to faraway places or closer to home, to discover unique stories told with audacity and emotion and to get to know heroic, flawed, and lovable characters,” said Artistic Director Frédéric Boyer. “Our international Competition showcases bold, risky and stylish film voices. These new perspectives, with diversity of tone and approach, may inspire people to expand their opinions and offer some exciting visions of our world today.”
Fifty-one narratives and 45 documentaries will debut over the course of the 12-day festival. Our competition section features 12 documentaries, 10 U.S. narratives and 10 international narratives; 14 Spotlight Narratives, 15 Spotlight Documentaries; five Midnight, 16 Viewpoints selections; and 11 Special Screenings.
The films in competition will compete for cash prizes totaling $165,000, as well as artwork from the Artists Awards program, offering work from acclaimed contemporary artists in select categories. One of the first awards to honor excellence in storytelling by a female writer or director, the 6th annual Nora Ephron Award, presented by CHANEL, will award a $25,000 prize to a woman who embodies the spirit and boldness of the late filmmaker.
Twelve years ago, Tribeca introduced the first film festival for independent sports and competition films. This year’s Tribeca/ESPN Sports Film Festival, sponsored by Mohegan Sun, includes five documentaries and one narrative feature film, as well as a shorts program and more to be announced.
In addition to Cusumano and Boyer, the programming team includes Liza Domnitz, Loren Hammonds, Ian Hollander, Tammie Rosen, and associate programmers Brian Gordon, Dan Hunt, Jule Rozite, Mara Webster, and Shayna Weingast.
Ticket packages are on sale now. Single tickets for events at the Beacon Theatre will go on sale on Tuesday, March 20th, and single tickets for all other events will go on sale Tuesday, March 27th.
The Tribeca Immersive lineup will be announced tomorrow, March 8th, and short films on Tuesday, March 13th. The Tribeca Talks, Tribeca TV, and N.O.W. (New Online Work) lineups will be revealed in the coming weeks.
The 2018 film selections are as follows:
The Miseducation of Cameron Post, directed by Desiree Akhavan, written by Desiree Akhavan, Cecilia Frugiuele. Produced by Michael B. Clark, Alex Turtlelaub, Cecilia Frugiuele, Jonathan Montepare. (USA) – New York Premiere. After Cameron is caught making out with another girl on prom night, her conservative guardians send her to gay conversion therapy. There, she forges an unlikely community with her fellow teens in this Sundance-winning coming of age story. With Chloë Grace Moretz, Sasha Lane, Forrest Goodluck, John Gallagher Jr., Jennifer Ehle.
– Source/Full List
Meet Teen Vogue’s Young Hollywood Class of 2018
Sasha Lane knows she packs a mean punch.
The 22-year-old is set to appear in the reboot of the comic superhero film Hellboy as Alice Monaghan, an Irish woman who develops magical powers after being kidnapped by fairies as a baby. With its gaggle of characters with super-abilities, filming required extensive stunt work, which was a steep learning curve for Sasha. But she came out of it more of a badass than ever, especially after some “tough love” from the stunt coordinators.
“If I got something wrong or if I didn’t do it correctly, they were like, ‘What are you doing? Come on, you know you can do this,’” Sasha tells Teen Vogue on the set of the Young Hollywood shoot with a sly grin. “They’re like, ‘Hit me harder,’ and I’m like, ‘All right.’”
“I’d get scared that I was gonna, like, knock them out — because, you know, I have a mean punch,” Sasha added. “But it worked out. Everyone’s safe.”
Sasha reveals that while she has long been a passive fan of the movie — which is based on the beloved comic by artist Mike Mignola — she has been humbled by Hellboy’s cult-like following.
“I’ve always dug Hellboy, but I’ve never really gotten into the comics,” she says. “People have come up to me saying, ‘I’ve been reading it since I was 10 years old,’ and I’m like, ‘Oh, my gosh, whoa, that’s sick.’”
Fans may see a brawl or two featuring Sasha in the action flick, but another one of her buzzed-about projects tackles an evil rooted in reality. In The Miseducation of Cameron Post, she plays “Jane Fonda,” a teen whose “born again” father sends her away to gay conversion camp. Winner of the top prize at the Sundance Film Festival in January, the LGBTQ film has been lauded for its sensitive, understated portrayal of adolescent self-doubt and discovery.
“The story meant a lot to me,” says Sasha, who came out as bisexual in 2015. “To get really good feedback from it was nice because you want to do a story like that justice.”
For the film, the award-winning Iranian-American filmmaker Desirée Akhavan did her research: She spoke at length with survivors of conversion therapy — which seeks to change a patient’s sexual orientation and has been denounced by major medical groups, like the American Psychiatric Association — in advance of shooting, and had survivors on set to ensure authentic and sensitive portrayals of the experience. In preparation for the role, Sasha also read an autobiographical account from someone who survived conversion therapy.
The film has garnered attention for the wealth of female talent behind the scenes and the diversity of its cast. Besides having Akhavan at the helm, Miseducation features Sasha, who is black and Māori, and Native American actor Forrest Goodluck alongside Chloë Grace Moretz, who plays the titular character, Cameron Post.
“I was very happy to be working with a bunch of women — we had women directors, a female cinematographer, writers,” says Sasha, who made her film debut in American Honey (2016). “It offers a different insight and a different type of feel. The more of it we can get out there, the better.”
Having plenty of women behind the camera was crucial for Sasha, proving that there are spots for them in all aspects of film and beyond. She explains, “I think it’s good for women to know that they can do whatever they want. That they can do any profession.”
The film comes on the heels of movements like Time’s Up, which brought to light long-standing inequalities women face in Hollywood and pretty much all industries, and the ongoing #OscarsSoWhite campaign, which calls for diversity in casting and recognition of the contributions of people of color to the world of entertainment.
And Sasha gets why these initiatives are so pivotal.
“People want to be represented; people want to be seen,” Sasha says. “You want to see yourself on screen so you have something to relate to. You can feel comfortable.”
Fearless when it comes to her own stunts and calling for action, it only makes sense that she brings that same bravery to getting inked up. She got a tattoo of a bee on her foot from a 13-year-old: “His mom actually owned the shop and just was like, ‘My son will do a tattoo for you, 20 bucks, anything you want,’” Sasha says. “I looked over and he was doing some chick’s back piece and I said, ‘F*ck it, OK.’ I told him to tattoo a bumblebee on my foot, and he did.”
To those scared of getting stung, a bee is a peculiar choice. But not for Sasha.
“I always have this thing with bees,” Sasha said. “Anytime I feel like I need to know that things are going to be all right, a bee always lands on my face or on my hand or just really close to me and chills there for a couple seconds and leaves. It’s like my little sign that things will be all right.”
Sasha is featured in the new issue of BLVD magazine. Check out the digital scans in the gallery. This is probably my favorite spread of hers. Enjoy!
On Tuesday afternoon, just before the start of Coach’s fall 2018 show, Sasha Lane, Tommy Dorfman, Joey Badass, Poppy, Kiko Mizuhara and India Menuez posed backstage for WWD. They make up Coach’s unofficial Class of 2018: a group of creatives the brand feels has their fingers on the pulse of culture.
Lane, Dorfman and Badass are most recognizable through their breakout projects. Lane appeared in 2016’s “American Honey”; Dorfman stars in “13 Reasons Why,” the Netflix series executive-produced by Coach brand ambassador Selena Gomez, and Joey Badass released 2017’s “All-Amerikkkan Bada$$” to critical acclaim. On the rise are singer Poppy, model Mizuhara and artist Menuez.
WWD chatted with Lane, Joey Badass, Poppy and Mizuhara ahead of the show. See what they had to say about style, closets and Coach below.
WWD: What in your opinion is a Coach wardrobe staple?
Sasha Lane: “The dinosaurs. I’m so into the dinosaurs everywhere. I go in and I keep trying to find them all. And their bags are always so cute.”
WWD: Favorite outdoor activity?
S.L.: “Honestly, laying in the grass. No shoes, laying in the grass and chilling. I’m not really an activity person, I’m more of a chiller. So just sitting there.”
WWD: Red carpet moment that defined your fashion outlook?
S.L.: “Probably my first one at Cannes. That was just ‘Now I’m in this and now this is a thing, this is happening.’ I remember feeling so good in the clothes and I was like, OK, I can find a way to wear this type of clothing and still feel like myself. You can find your style within higher brands.”
WWD: Best style advice you’ve received?
S.L.: “Just do what the f–k I want. Probably my brother encouraging me to wear whatever I want and just go with it.”
Sony Pictures Worldwide Acquisitions has acquired all international rights to Brett Haley’s “Hearts Beat Loud” in advance of its Sundance Film Festival premiere.
The tender drama about a father (Nick Offerman) trying to convince his daughter (Kiersey Clemons) to form a band premieres on the festival’s last night. It marks Haley’s third Sundance film in four years — he previously debuted “The Hero” and “I’ll See You in My Dreams” at the mountainside gathering. It’s a showy role for Offerman, allowing an actor best known for his comedic turn on “Parks & Recreation” to flex some dramatic muscles.
The deal excludes North American rights and was negotiated on behalf of the filmmakers by Endeavor Content. Sony’s Michael Helfand, Joe Matukewicz, and Jon Freedberg negotiated the deal for the studio.
The film co-stars Ted Danson, Sasha Lane, Blythe Danner, and Toni Collette, with original music by Keegan DeWitt, and is set in Red Hook, Brooklyn.
Heading into the festival, “Hearts Beat Loud” was one of the buzzier titles. Haley is the rare indie filmmaker who seems to combine strong critical notices with solid box office results. Both “The Hero” and “I’ll See You in My Dreams” did solid business when they were in theaters.
Sasha wass in attendance at the 2018 Sundance film festival for The Miseducation of Cameron Post and Hearts Beat Loud. I’ve added links to photos in the gallery in this post. Thanks to my friend Marcia for some of these.
January 18 – Sundance ‘Hearts Beat Loud’ Screening After Party
January 19 – Sundance Variety Studio
January 19 – Sundance IMDb Studio
January 19 – Sundance LA Times
January 19 – Sundance Deadline Studio
January 21 – Sundance The Hollywood Reporter Studio
January 21 – Sundance Outfest Queer Brunch
January 21 – Sundance IMDB Studio
January 21 – Sundance Deadline Studio
January 21 – Sundance Variety Studio
January 22 – Sundance ‘The Miseducation of Cameron Post’ Screening
2018: Photo Session #001
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2018: Photo Session #010
Lionsgate and Summit Entertainment’s Hellboy reboot is going to miss the 25th anniversary of Mike Mignola‘s Dark Horse Comics creation by about a year, but the good news is that this new take on Anung un Rama will arrive early in 2019. Stranger Things star David Harbour takes on the title role in Neil Marshall‘s film, which also stars Milla Jovovich, Ian McShane, and Daniel Dae Kim.
As THR reports, Hellboy will arrive January 11, 2019. Currently, that puts the film in direct competition with Fox’s sci-fi/adventure flick Ad Astra starring Brad Pitt, Donald Sutherland and Tommy Lee Jones, directed by James Gray; and Paramount’s curious comedy, What Men Want, fronted by Taraji P. Henson. Those films will all be followed up by the highly anticipated Glass from Blumhouse and Universal the very next week, so we’ll see which one has the best legs and/or which film(s) shifts schedules.
Here’s Harbour’s take on the character and how the reboot will approach his story:
“There are things that I’m gonna do that are different. Hellboy is the same character from the comics and from what Ron did, there are certain things that are the same thing, but I do think that—I don’t know, there’s a different approach because I sort of highlight different things, I think, than Ron does. Ron sort of embraces this machismo in himself and in Hellboy, and I really like it and it’s super fun and it’s a super fun performance, but I think Hellboy has a certain psycho dynamic where occasionally he has to prove that he’s the lion, has to roar, and I think he struggles with his own masculinity. But I don’t think he needs that as much as maybe those other movies. I have a bit of a different take on his capability or his slickness. I sort of think that for me he’s a little less skilled at constructing that persona.”
Competition highlights include the post-apocalyptic drama ‘I Think We’re Alone Now’ from director Reed Morano (‘The Handmaid’s Tale’).
The #MeToo movement is hitting Sundance.
A Gloria Allred documentary titled Seeing Allred will make its world premiere at Sundance 2018, joining a lineup of films that also includes the Keira Knightley-starrer Colette, Gus Van Sant’s Don’t Worry, He Won’t Get Far on Foot and the Daisy Ridley post-Star Wars vehicle Ophelia.
This year’s incarnation of the annual indie festival is chock-full of ripped-from-the-headlines fare, including the Trump-Russian propaganda doc Our New President, the Koch brothers exposé Dark Money, the Ku Klux Klan drama Burden (starring Garrett Hedlund and Forest Whitaker) and Desiree Akhavan’s gay conversion dramedy The Miseducation of Cameron Post.
But perhaps nothing will hit the zeitgeist more squarely than Seeing Allred, which will be tweaked right up until the last minute to address the growing list of sexual harassment and assault claims that continue to rock Hollywood, the media and politics on a daily basis.
“The filmmakers did notify us that they were going to continue shooting to add to the documentary as all of the allegations were breaking,” Sundance director of programming Trevor Groth said Wednesday in a statement. “So, there is a real sort of timely quality to that film.”
Directed by Sophie Sartain and Roberta Grossman, the doc traces the life of the nation’s most visible women’s rights attorney, who has taken on President Donald Trump, Bill Cosby and Harvey Weinstein and has become a force within the #MeToo movement of victims speaking out about being abused by powerful men. Marta Kauffman (Friends) is a producer.
The festival on Wednesday unveiled the 110 films from 29 countries that will screen as part of the U.S. Competition, World Competition and NEXT sections. Of the dramatic competition hopefuls, roughly one-third are directed by women. That’s a positive sign for the indie film industry when compared to studio film world, where women continue to represent less than 10 percent of directors.
“I don’t think you ever take a sigh of relief. It takes constant vigilance,” said John Cooper, director of the Sundance Film Festival. “I think what’s really changing for our audiences and for the filmmakers is just an awareness of how important other voices are not just to change in the world but also just as far as the entertainment factor, for fresh stories, for stories that are not just dull and boring. I think that’s what independent film has always done.”
Among the competition highlights are Craig William Macneill’s Lizzie Borden thriller Lizzie, with Chloe Sevigny and Kristen Stewart, and Monsters and Men, Reinaldo Marcus Green’s take on a police killing of a black man.
Another highly anticipated film is Reed Morano’s post-apocalyptic drama I Think We’re Alone Now, starring Peter Dinklage and Elle Fanning.
“Like Morano’s The Handmaid’s Tale, it’s creating tension out of quietness,” said Cooper of the film. “A lot of The Handmaid’s Tale, which I loved, is a lot of quiet that was just eerie and unsettling.”
The festival is set to kick off in and around Park City, Utah, on Jan. 18 and run through Jan. 28.
This year’s batch of films were selected from 13,468 submissions, including 3,901 feature-length films and 8,740 short films. Of the feature film submissions, 1,799 were from the U.S. and 2,102 were international. Last year, the fest drew 71,638 attendees.
A complete list of films screening in the U.S. Competition, World Competition and NEXT as well as Premieres, Midnight, Spotlight and Kids sections follows.
U.S. DRAMATIC COMPETITION
Presenting the world premieres of 16 narrative feature films, the Dramatic Competition offers festivalgoers a first look at groundbreaking new voices in American independent film. Films that have premiered in this category in recent years include Fruitvale Station, Patti Cake$, Swiss Army Man and The Diary of a Teenage Girl.
The Miseducation of Cameron Post / U.S.A. (Director: Desiree Akhavan, Screenwriters: Desiree Akhavan, Cecilia Frugiuele, Producers: Cecilia Frugiuele, Jonathan Montepare, Michael B. Clark, Alex Turtletaub) — In 1993, after being caught having sex with the prom queen, a girl is forced into a gay conversion therapy center. Based on Emily Danforth’s acclaimed and controversial coming-of-age novel. Cast: Chloë Grace Moretz, Sasha Lane, Forrest Goodluck, John Gallagher Jr., Jennifer Ehle. World Premiere