The new trailer for After Everything (formerly called Shotgun) was released this week. It looks soooo good! Check it out.
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.
Sasha Lane: The Fashion Muse We Need Right Now
It’s a Saturday morning, early enough that it only takes me 20 minutes to get from the Westside of Los Angeles to Echo Park, the neighborhood Sasha Lane calls home. I’m meeting the actress—Hollywood’s beloved indie darling—at one of her favorite local spots, Stories Books & Cafe, a small business serving up exactly what you’d expect: books, brews, and bites. She arrives shortly after I do with her dog, Homey, in tow, and we grab a seat on the back patio. It’s been a dismal week, to say the least, with the sudden passing of designer Kate Spade and chef/journalist Anthony Bourdain, but Lane is the embodiment of positivity in a tie-dye pink T-shirt with denim cutoffs and glitter-covered Vans, her nails painted a sparkly light blue.
She is the energy we all need right now.
One can only imagine that same energy was the impetus for her discovery. Before Lane landed on the It list of nearly every industry producer and director—a result of her raw performance in 2016’s American Honey—she was a Texas State University student taking classes in psychology and social work, and her story went something like this: Hanging out with friends on a Florida beach during spring break, she caught the eye of director Andrea Arnold, who convinced her to audition for the lead role in her film. While Lane’s right-place, right-time discovery is a storied industry tale, that’s where the similarities between her and other young starlets end.
Lane caters to a new generation, bucking all the Hollywood ingénue clichés, from her sexuality and appearance—she’s a biracial gay woman with dreadlocks and tattoos—to her project selection philosophy. But even better, she’s not afraid to call bullshit on industry elite who say they want “real” and “raw” but then throw that all out the window for the safe choice. That’s the exciting thing about Lane; she’s not afraid to take risks, bring authentic stories to the big screen, or, most importantly, ensure inclusivity and diversity in Hollywood aren’t just trends.
You can see this reflected in her résumé. Four out of the six projects listed on Lane’s IMDb page are directed by women, and two of her character credits identify as LGBTQ+. She may not be exclusively seeking out these types of projects, but the impact they’ve had on her
(and audiences) is not lost on Lane.
“Andrea really solidified how I felt about being vulnerable and how women see characters,” she says. “I keep being in these situations where I’m making vulnerable films with these women who are actually allowing me to be a full character, not just a pretty girl, not just three fucking descriptions we see in every script,” she says. At once sweet and tough, fearful and confident, graceful and crude, Lane can’t be whittled down to just three descriptions any more than the rest of the human race.
This month, we see Lane in the feel-good indie story Hearts Beat Loud, about a widowed father (Parks and Recreation’s Nick Offerman) trying to make the most of his final weeks with his college-bound daughter (Kiersey Clemons) by forming an unlikely music duo. Lane is fantastic as Rose, Clemons’s character’s love interest. The part afforded Lane the opportunity to collaborate and bring her personal truth to their story, a dynamic not commonly portrayed on the big screen. “[Director] Brett Haley was like, I’m a straight white man. I know nothing about a biracial lesbian relationship. What should we do?” laughs Lane. “And then we just started going through the entire script and working on it, and it gave me confidence to speak my mind and steer the direction of how something should go, that I shouldn’t just say, Whatever you want! Because no, I have an opinion, I have a mind, and Brett offered that to us.”
While Lane has her own experiences to draw from for Hearts Beat Loud, nothing could prepare her for the gut punch that was The Miseducation of Cameron Post. The film follows the journey of teenager Cameron Post (Chloë Grace Moretz) as she is forced to enter a gay conversion therapy center after her romance with a close female friend is exposed.
“My initial thoughts were like, whoa!” Lane tells us. “It is set in 1993, and that is not that long ago. And then I started reading books about it and talking to Chloë and the director, Desiree [Akhavan], more about it. Chloë is so smart and intellectual and is always doing research. She was telling me how this is now. The fact that we were filming during the inauguration, it made that film hit us much harder and made us want to work that much harder for it.” That passion to do right by the story clearly paid off; the film would go on to win the Grand Jury Prize at the 2018 Sundance Film Festival.
Not only is Lane winning over critics and audiences with her performances, but she’s a bona fide fashion muse, too, with first-rate designers clamoring to dress her. Just last month, she accompanied Tory Burch to the Met Gala in a custom ivory gown featuring gathered tulle and Chantilly lace, her dreadlocks decorated with crystal strands. When I ask about the collaboration, she admits it was a shock even to her at first. “I was intrigued, because I was like, Tory wants me?” says says. “She wants me at her table? Has she seen me—has she seen what I look like?”
The two built a connection in that small amount of time, Lane tells us, bonding over their relationships with their brothers. And while the Met Gala red carpet can be intimidating to even the most veteran Hollywood talent, the rising star felt completely at ease her second time around.
“I had so much confidence and I felt so good in what I wore that even when I saw Rihanna—
who of course always looks banging, and it’s fucking Rihanna—I was like, I don’t even feel less than; I don’t feel intimidated or anything. We’re both just here looking beautiful as shit. It made me feel like I can stand among these people and still feel beautiful.”
At this rate, with the career Lane is carving for herself, she won’t just stand among industry giants. She’ll surpass them.
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It’s the stuff of Hollywood lore: in 2015, Andrea Arnold, the auteur behind Fish Tank and Red Road (both winners of the Cannes Film Festival Jury Prize), had the lead of her next movie drop out, so she flew to Florida during spring break to cast a new star. She found Sasha Lane. Tipsily hanging out with her friends on the beach, Lane, with her dreadlocks and intense self-possession, was impossible to ignore.
Arnold approached her. The advances were initially met with skepticism— porn producers use similar recruiting tactics—but, after a series of impromptu auditions in hotel rooms and parking lots, Lane went along. A year later, American Honey won Arnold a third Cannes Jury Prize, and most of the buzz surrounding it came from Lane’s unforgettable performance as Star, a young woman who falls in with a crew of mostly abandoned kids, selling magazines door- to-door across the country— sort of a cross between summer camp and human trafficking. An independent, multifaceted soul, she is by turns curious and cagy, strong-willed and submissive. The emotional range Lane displays is as vast as the empty American landscapes Star and her crew pass through.
Much like Star, Sasha Lane wields a fiery independent streak. “I think the reason I was discovered the way I was is that I’m not like everyone else,” she says. When she was growing up in rural, working-class Texas, Hollywood had been less a real place and more of an abstract—not necessarily positive—idea. In her new life, Lane says that she’s much more hopeful. “Now I can express myself and move in the direction I want to move. There’s a light at the end of the tunnel.” She pauses. “But I have more anxiety, too.” She’s says she’s focused on “clearing out bad shit,” and that her home is a source of comfort and stability: “I have a brother and a dog. What else do you need?”
Lane appears in threefilms that come out in 2018,including a turn alongside Chloë Grace Moretz in The Miseducation of Cameron Post, an adaptation of Emily M. Danforth’s novel about evangelical conversion therapy. Lane plays Jane Fonda—not that Jane Fonda—Cameron’s friend and fellow inmate at God’s Promise, an anti- gay brainwashing camp. Jane is feisty and funny, a consistently bright spot in a morose picture. Lane was attracted to the role because, as a queer woman, she is particularly disturbed by the subject matter. “It’s wrong,” she says, adding that although the movie is set in the ‘90s, “it’s happening now. It’s not something that just happened years ago.”
The Miseducation of Cameron Post comes out in the United States in August, but before that audiences will see Lane in theaters as Rose, the love interest of Sam Fisher (Kiersey Clemons) in Hearts Beat Loud. Comparatively, it’s much more of a feel-good movie, cute and full of music. The story centers on Sam’s father (Nick Offerman), who tries to talk Sam into putting off college to start a band with him; Rose provides inspiration for Sam to write songs, as well as further motivation to stay home. Their scenes together have an easy, natural intimacy, for which Lane credits director Brett Haley, who reached out to her and Clemons for input in developing their characters and relationship. “He understood that he’s a straight white man, and we’re two biracial girls. It was our story, and he allowed us to tell it.”
Lane also has a small role in indie rom-com Shotgun, which screened at SXSW in March. She says she appeared in the movie to support one of the directors, Hannah Marks. “She’s a woman, she’s young. I really admire her.” Finally, early next year, Lane will be in a reboot of the Hellboy series. She learned much about the modern filmmaking craft, she says, as part of a big-budget superhero movie production, with its elaborate costumes and green-screens.
This broad array of roles is no accident. Lane doesn’t want to be in just any movie; she needs to be invested in an artistic project. “I really enjoy acting when I feel connected to my characters, when it says something to me.” Though the world of actors and acting didn’t necessarily call to a young Lane, she always had a sense of empathy for characters. “I could always get really into characters, really invested, put my mind into their mind.”
Lane’s no-bullshit approach is evident not just in her choices of work, but on her Twitter feed—where one might find a cheeky joke about smoking weed alongside a sincere reflection on the pain of being labelled and “put into a box” as a gay person followed by a post that consists entirely of the word “FUCK” repeated 56 times— or on her Instagram, where she’s as likely to post an iPhone lip- syncing video as her latest photoshoot. Even when asked how she likes living in Los Angeles, Lane doesn’t hold back. “The weather is nice… You can find a lot of vegetables… But I miss being around genuine people who I feel like I can trust.” Trusting in herself, then, has become essential. “It’s almost a survival thing. I have to be who I am. I don’t have any interest fitting in with everyone here.”
What great artist has ever fit in? Outsiders can question; outsiders can subvert; outsiders can speak hard truths to a society that wants to ignore them, like American Honey does. One hopes Sasha Lane gets more roles like that. As indispensable as she is to Hearts Beat Loud and The Miseducation of Cameron Post, she’s like a glowing meteor in orbit around those films. But when she herself is the star, her magnetism is inescapable. We shouldn’t have to wait for long. With a talent as singular as hers, it’s only a matter of time.
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 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
2018: Photo Session #002
2018: Photo Session #003
2018: Photo Session #004
2018: Photo Session #005
2018: Photo Session #006
2018: Photo Session #007
2018: Photo Session #008
2018: Photo Session #009
2018: Photo Session #010