The new trailer for After Everything (formerly called Shotgun) was released this week. It looks soooo good! Check it out.
Sasha attended the New York premiere for Skate Kitchen a couple of days ago. I’ve also added scans of her from Entertainment Weekly and Diva. Enjoy!
Sasha was in attendance this past week at The Miseducation of Cameron Post New York screening. Sorry I didn’t get a chance to add these sooner. She and the cast looked lovely at the screening. The film looks awesome. I can’t wait to see it. Enjoy the photos.
Patrick Schwarzenegger, Miles Robbins, Sasha Lane, and Hannah Marks will star in Daniel Isn’t Real, a film from SpectreVision, the production behind the Sundance thriller, Mandy, and ACE Pictures. Adam Egypt Mortimer is directing the film, which is based on the novel In This Way I Was Saved by Brian DeLeeuw, who co-wrote the screenplay with Mortimer
The plot follows troubled college freshman Luke (Robbins) who suffers a violent family trauma and resurrects his childhood imaginary friend Daniel (Schwarzenegger) to help him cope. Charismatic and full of manic energy, Daniel helps Luke to achieve his dreams, before pushing him to the very edge of sanity and into a desperate struggle for control of his mind — and his soul.
Production is currently underway. SpectreVision producers are Daniel Noah, Josh C. Waller, Lisa Whalen, and Elijah Wood. Timur Bekbosunov, Johnny Chang, Emma Lee and Peter Wong will executive produce for ACE Pictures, while Stacy Jorgensen will executive produce for SpectreVision.
Schwarzenegger most recently starred opposite Bella Thorne in Midnight Sun and the National Geographic miniseries The Long Road Home. Robbins starred in Universal’s Blockers and will be seen in the upcoming Halloween installment.
Lane, best known for her breakout performance in American Honey, co-stars in the soon-to-be-released The Miseducation of Cameron Post. Marks co-starred opposite Wood in BBC America’s Dirk Gently’s Holistic Detective Agency, and recently sold her SXSW film, After Everything (formally titled Shotgun) to Good Deed Entertainment.
Schwarzenegger is repped by UTA and Management 360; Robbins by CAA and Authentic Talent & Literary Management; Lane by WME, The Long Run, and Gray Krauss Sandler Des Rochers; Marks by UTA, Untitled, and Bloom Hergott Diemer.
Mortimer is repped by 3 Arts Entertainment and ICM Partners.
Sasha was out today at Outfest Los Angeles LGBT Film Festival to promote The Miseducation of Cameron Post. She was in attendance with the cast including Chloe Grace Moretz and Forest Goodluck. Enjoy the photos.
Anya Taylor-Joy, who broke onto the scene with her lauded performance in A24’s The Witch, has been tapped as the title character in Weetzie Bat, the film adaptation of Francesca Lia Block’s cult favorite 1980s novel that Justin Kelly is directing. Love, Simon star Nick Robinson, American Honey standout Sasha Lane, Theodore Pellerin (Boy Erased) and Keiynan Lonsdale (Love, Simon, The Flash) also will star in the pic, which is described as a neon-lit fairy tale.
Weetzie (Taylor-Joy) is an ethereal pixie living in 1980s Los Angeles, where she grew up the child of an alcoholic starlet mother and a junkie screenwriter father. She teams up with her Mohawked best friend Dirk (Pellerin) to find love, leading her to mysterious trenchcoat-wearing filmmaker Max (Robinson) and platinum-haired surfer Duck (Lonsdale). But when their bliss is threatened by deaths, breakups and Max’s witchy and bitter ex-girlfriend Vixanne (Lane), Weetzie must take off her pink harlequin sunglasses in order to confront life’s darkness and find happiness in a city known as much for the glamour of fame and fortune as the darkness of cults and crime.
Thor Bradwell, Justin Kelly, and Joshua Thurston are the producers on Weetzie Bat.
Block, who also penned the screenplay for the film, has authored more than 25 books spanning fiction, nonfiction, short stories and poetry. Repped by Intellectual Property Group, she has written scripts for Fox Searchlight and MTV and is currently developing other screenplays based on her work.
Taylor-Joy, recently seen in M. Night Shyalaman’s Split and Cory Finley’s Thoroughbreds, next stars in Fox’s X-Men: The New Mutants and the next film in Shyalaman’s Unbreakable series, Glass. She’s repped by CAA and Troika.
Robinson, who just wrapped on A24’s Native Son, is repped by UTA, Savage Agency, Management 360 and Felker Toczek. Lane, soon to be seen in Desiree Akhavan’s coming-of-age Sundance film The Miseducation of Cameron Post and Neil Marshall’s upcoming Hellboy reboot, is repped by WME, the Long Run and attorney André Des Rochers.
Kelly, repped by Thirty Three Management and CAA, recently wrapped on the biopic JT Leroy starring Kristen Stewart, Laura Dern and Diane Kruger.
Sasha is featured in the new issue of Elle (UK). It was a really great read so I highly recommend you check it out. I’ve added scans from her feature as well as some photo sessions and some photos from The Miseducation of Cameron Post. Enjoy!
Sasha Lane is opening up in Elle UK‘s August 2018 issue, out Wednesday (July 4).
Here’s what the 22-year-old American Honey actress had to say…
On struggling with mental illness: “I have bipolar disorder, and the more intense my life gets, the more intense my head gets. It’s hard to act like you’re not hearing voices all day when you’re trying to say your lines… But someone else is struggling with this. I want people to know that just because I have designer bags and I’ve traveled the world, I’m still having a breakdown every other f–king day.”
On staying true to herself: “I’m pretty good at sticking to my guns. I don’t care how much money they’re offering, or how big the role, or how cool the party is. I just don’t take s–t from people. I’ve been asked, ‘Will you switch your hair?’ F–k, no. What for?”
On racial diversity and avoiding token roles: “There are a handful I get [offered] that I know are specifically for a white person; the whole family dynamic is geared towards a white person. I don’t have those experiences. My mother is Maori, from New Zealand, and my father is black. I grew up with a lot of black people. You thought [offering me this role] was diverse, so you could say you have someone of colour in your film, but I’m light-skinned enough that it doesn’t throw white people off. As much as I’m glad to represent people, don’t use me as your token.”
2018: Photo Session #018
2017: Garage – additions
The Miseducation of Cameron Post: Posters & Art – additions
The Miseducation of Cameron Post: Promotional Images – additions
Chloë Grace Moretz is offering a few lessons on morality and acceptance in the new trailer for her stunning Sundance drama The Miseducation of Cameron Post.
The first full-length trailer for the festival hit debuted Tuesday, previewing the Desiree Akhavan-directed film’s emotionally wrought story revolving around a young lesbian’s (Moretz in the titular role) road to self-acceptance amid her journey through the evils of religiously-backed gay conversion therapy in 1993 America.
After her boyfriend catches her having sex with her high school’s prom queen, Cameron’s mother exiles her to a rural treatment center. Though she struggles to cope with her new environment at first, Cameron doesn’t face the conflict alone: American Honey breakout Sasha Lane plays another gay teen who quickly bonds with Moretz’s character at the facility, which is run by the domineering Dr. Marsh (Jennifer Ehle) and her docile brother, Reverend Rick (John Gallagher Jr.). But things don’t go according to plan, and Cameron’s bout with conversion therapy instead affirms her identity as opposed to erasing it.
“Cameron, your sin is with the struggle of same-sex attraction. You’re facing the consequences of your actions, and it’s ugly… The first step is for you to stop thinking of yourself as a homosexual,” Dr. Marsh tells Cameron, who responds: “I don’t think of myself as a homosexual. I don’t really think of myself as anything… F— this place.”
Following the success of Appropriate Behavior — Akhavan’s debut feature as a writer-director — Cameron Post marked the filmmaker’s second consecutive feature to premiere at Sundance, where the film ultimately won the annual event’s 2018 Grand Jury Prize in January. It has since traveled to festivals around the world (including the 2018 Tribeca Film Festival), where it has been met with positive reviews from movie critics.
The Miseducation of Cameron Post enters limited release on Aug. 3. Watch the film’s first full-length trailer above.
I’ve added a handful of film images, photo sessions, and scan additions to the gallery. They are all lovely. More soon. Enjoy!
In a world inundated with films about angsty artists rebelling against their more traditional parents, Hearts Beat Loud is the breath of fresh air that we didn’t even know we needed. Yes, it’s another entry into the, “‘You’re giving up on your dream.’ ‘No, Dad. I’m giving up on yours,’” film canon, but with a welcome twist: 18-year-old Sam (Kiersey Clemons) wants to attend UCLA for medical school and her father, record shop owner Frank, wants her to stay in New York and start a band with him. Frank (Nick Offerman) is the quintessential goofy dad, pulling his daughter away from studying so they can “jam sesh.” He plays an old guitar, and she plays a keyboard hooked up to a Macbook; he represents old school rock, and she represents contemporary pop. Together, they make an unlikely songwriting duo called “We Are Not A Band.”
But underneath this saccharine premise, father and daughter struggle to heal from a family death. Sam copes by burying herself in medical textbooks and planning to move to LA, while Frank smokes cigarettes and drinks at the bar, ignoring his failing record shop. By channelling their trauma into writing music, the pair finds that forming a band may have the potential to be a healthier coping mechanism.
The original music by Keegan DeWitt is infuriatingly catchy (I keep finding myself blasting the title song in my car as I drive around the city), with Clemons’ powerhouse vocals standing out amongst the bouncy synths. Along with her breakthrough performance as rapper/drummer Diggy in Dope (2015) Clemons has now officially claimed the niche title of musical indie darling.
Not only does Clemons possess the voice of an angel, she’s got the acting chops to boot. Her expressive eyes communicate through slow, thoughtful blinks and longing stares, telling us exactly what’s going through her head. The way she gazes at her girlfriend, Rose (Sasha Lane of American Honey), exudes a deep affection that’s louder than words could ever scream. And yet, her character Sam still manages to express these feelings through writing love songs for We Are Not A Band. It’s a difficult task to not shed a tear as Sam croons to Rose, “You told me to be brave and I will remember that.” It’s a task I failed spectacularly.
But I’ve gushed enough about Clemons. I must keep reminding myself that there are other characters in the film, too. Like current reigning scream queen Toni Collette, playing Frank’s landlady, who delivers a delicious karaoke rendition of “Bruises” by Chairlift. And Ted Danson, playing Frank’s chronically stoned bartender, who doesn’t really add anything to the plot, but is hilarious nonetheless. Though the film struggles to find satisfying arcs for these characters, and at times can feel like a not-so-subtle Spotify ad, these few missteps are masked by its feel-good, charm-filled atmosphere.
Okay, now back to Clemons. The revolutionary thing about her character is that she doesn’t experience any discrimination based on her race or her lesbianism throughout the entire film. As a mixed race bisexual woman, I saw myself in Sam when she joked around with her white dad and kissed her girlfriend underneath the city streetlights. While some may claim that erasing our issues is unrealistic, which it may be, it’s so refreshing to escape into a world where your marginalized identity isn’t a constant weight on your shoulders.
Films about LGBTQ+ characters have historically carried the burden of having to explain to the heterosexual audience the oppression that the community faces. We are finally beginning to get to a point where gay characters in semi-mainstream film can simply live without the entire plot being about their struggles with sexuality. Obviously, this does not mean that homophobia is over. It’s alive, and it’s ugly. But I’m tired of watching dramas where gay characters’ hearts get broken. Let them beat. Loud.