St. Louis Actors’ Studio Releases Book “Unlikely Japan and Other Plays”
St. Louis Actors’ Studio (STLAS) and esteemed film director, screenwriter and playwright Neil LaBute have published a new book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival.” Since 2014, STLAS has worked with LaBute to produce the annual festival bearing his name celebrating new works by emerging professional and high school playwrights, as well as a new piece penned each year by LaBute himself.
In honor of a decade of this successful collaboration, the book features ten one-act plays by LaBute, created and staged exclusively each summer by STLAS at The Gaslight Theatre in St. Louis. The festival has also had successful runs in New York City at the 59E59 and Davenport Theatres.
“The ten shorts contained in this volume are quite diverse, from comedy to drama, from dialogue to monologue, and all written with a passion for the actors who would go on to breathe life into the many characters on display. It has been a great pleasure for me to work with William Roth and STLAS for ten years on this project and to spend time creating a collection of short plays, a form that is always a challenge but one that I both love and admire,” said Neil LaBute.
In subsequent printings, STLAS hopes to publish many more short plays by a variety of participating authors.
“I so value my 12-year creative relationship with Neil. Lending his name and talents to foster new works in the theater is just another example of his generosity and commitment to the arts, and we could not be more proud to host this ongoing event,” says William Roth, Founder and Artistic Director at St. Louis Actors’ Studio.
The book is currently available in electronic form for Kindle on Amazon. The print version will be available beginning on May 24 via Amazon and direct order from St. Louis Actors’ Studio. Email help@stlas.org to order direct.
LaBute and Roth will do a reading and book signing event at The Drama Book Shop in New York City on Wednesday, June 12 at 7:30 p.m.
The 10th Annual LaBute New Theater Festival is set to take place July 12-28, 2024 at The Gaslight Theater with featured plays to be announced in the coming weeks. Stay tuned to stlas.org for updates and ticket information.
About St. Louis Actors’ Studio
St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.
John Pierson, associate artistic director at STLAS, Neil LaBute and William Roth, artistic director STLAS. Provided photo.
A special presentation of the digitally remastered 1920 silent German horror movie “The Cabinet of Dr. Caligari” will be scored by organized Gerry Marian this weekend at the Chase Park Plaza Cinemas.
The 74-minute film will be shown at 11 a.m. Saturday and Sunday, May 11 and 12 in the main auditorium. Tickets are $5.
Theatre Manager Robert Hunt said they hope to schedule similar type events. At Halloween, they will show Lon Chaney’s version of “The Phantom of the Opera.”
Gerry Marian, house organist at the Chase Park Plaza Cinemas. Photo provided.
We’re trying to do two or three of these silent movie performances a year, with Gerry performing his own scores. He did ‘Mark of Zorro’ in February, and it was a great success. In the past, he’s done ‘Phantom of the Opera’ and ‘Nosferatu,’ he said.
Marian, who has been the staff organist at the Chase Cinemas for 25 years, entertains with live music in Theatre 3 usually Wednesday through Sunday before matinees.
“I love it. It’s part of my life. It makes people happy. They remember times in their past, good memories,” he said. “I think it adds something to the movies. We get good feedback.”
Marian was a protégé of legendary Stan Kann, who was the resident organist at the Fox Theatre in St. Louis for 22 years. Marian was his assistant for 10 years.
Marian, who grew up in St. Louis and graduated from Southwest High School, started playing the organ when he was 14. He said modern technology has improved the sound quality so that he is able to provide an audio experience evocative of grand movie palace organs.
The Cabinet of Dr Caligari.
A movie buff, Marian looks forward to providing something different with a classic of early cinema.
Considered the first horror movie and an outstanding example of German Expressionist cinema, “The Cabinet of Dr. Caligari” is about an unhinged hypnotist (Werner Krauss) who uses a brainwashed sleepwalker (Conrad Veidt) to commit murders.
A young man and his fiancé recall a horrible experience with the mysterious doctor at the annual fair in Holstenwall. Francis and his friend Alan visit the exhibit, The Cabinet of Dr. Caligari, where the doctor wakes up Cesare, a somnambulist. Cesare tells Alan he will be dead before dawn. Sure enough, after his body is found, Francis starts investigating. He spies on both the doctor and Cesare.
Robert Weine directed the film, which features a dark, twisted visual style. The set design features sharp-pointed forms, curving lines, landscapes in unusual angles, shadows, and streaks of light.
For more information, visit https://www.stlouiscinemas.com/movie/The%5FCabinet%5Fof%5FDr%5FCaligari%5F1921
Fun, charming, and heartfelt, albeit insubstantial, director David Leitch’s “The Fall Guy” is purely entertaining – letting us watch two hot leads sizzle up the screen in an action rom-com that’s an ode to stunt teams and behind-the-scenes workers.
Leitch’s film, very loosely based on the 1980s TV series of the same name, centers around Colt Seavers (Gosling), an outwardly confident yet insecure stunt double for the superstar Tom Ryder (Aaron Taylor-Johnson, suitably obnoxious), who lies about doing his own stunts. Colt is in a fling with camera operator Jody Moreno (Emily Blunt), and everything seems great:
Colt can do what he loves, impress Jody, and feel cool. At least, until it all falls apart. Colt breaks his back while redoing an aerial stunt — Tom claims that Colt’s face was visible on Take One — which makes him question his life choices. Colt (perhaps because of his bruised ego), pushes Jody away, and wants to abandon the profession altogether. Jody is heartbroken, and Colt begins working as a valet at a Mexican restaurant.
Eighteen months later Colt, stuck in a rut and regretting his decisions, is contacted by the high-strung, Diet-Coke-addicted Gail Meyer (Hannah Waddingham), Tom’s film producer. Gail informs Colt that Jody is directing her first film — a mishmash of “Dune” and “Mad Max” called “Metalstorm” — and Jody wants Colt to come aboard. Colt is thrilled, seeing this as a chance to get back together with Jody. He heads to Sydney, Australia, to begin filming.
Upon arrival, however, Colt discovers that Jody never actually asked for him. On the contrary, she’s highly resentful, at one point taking out her anger by making Colt repeat a painful stunt until her bloodlust is satisfied. But there’s still a flirtation between them, a flicker of the love that used to be, that shines through in their alternately combative and affectionate banter.
Before long, Gail reveals to Colt that Tom has gone missing and tasks Colt with finding him before time runs out and production shuts down on “Metalstorm.” This could be Colt’s chance to save Jody’s movie, redeem himself in her eyes, and rekindle their bond. Thus, the stage is set for an adventure that succeeds most if viewers sit back, let the increasingly convoluted plot wash over them, and go along for the crowd-pleasing ride.
Indeed, “The Fall Guy” is a breezily diverting experience, with pop culture references galore and an obvious appreciation for filmmaking and the people who work tirelessly behind the scenes to make it all a reality. It’s also an opportunity to bask in the star power of Gosling and Blunt, whose dynamic gives the film a sexy burst of energy that buoys a plot that becomes a little too unwieldy for its own good by the chaotic final act.
Aaron Tyler-Johnson as mega-star Tom Ryder.
Leitch’s film tries to simultaneously be a cheesy romantic comedy, a self-effacing send up of blockbusters, and a tribute to the tireless efforts of stunt crews, but it ultimately short-changes all of these threads, becoming far less than the sum of its parts. But damn, is it a likable ride nonetheless.
Over the years, Gosling has proven himself as a versatile actor, and “The Fall Guy” gives him yet another opportunity to shine. His performance as Colt won’t win any awards – Leitch doesn’t bother much with backstory or give Colt’s “serious” moments time to breathe without balancing them with self-aware humor or broad slapstick comedy. However, Gosling’s brand of goofy charisma works well here, as Colt becomes the lead star of his own action film.
Gosling’s always a joy to watch, whether engaging in Leitch’s creatively-staged action sequences (a psychedelic nightclub beat-down and a battle within a garbage-truck-turned-wrecking ball are the standouts), preparing for a particularly grueling stunt on a film set, or crying his heart out to Taylor Swift’s “All Too Well” while reminiscing about his former fling with Blunt’s Jody. Much of the character’s appeal rests on Gosling’s shoulders, though, with him delivering sporadically eye-rolling dialogue with infectious sincerity.
Blunt is given less to work with here – and is largely sidelined for most of the film’s cluttered second act – but she has great chemistry with Gosling. Jody’s a passionate, career-focused woman, but can only hide her continued yearning for Colt for so long. Colt and Jody’s back-and-forth dialogue and will-they-won’t-they dynamic (elevated by Leitch’s perhaps overly self-assured direction) never loses its appeal, regardless of the story’s predictability.
Less successful is the satirical industry exposé element of the plot, which becomes too cartoonish, and almost becomes a parody of itself. It’s disappointing, in a way, since Leitch makes a lot of effort to immerse us in the thick of the “Metalstorm” film set early on, emphasizing all the coordination necessary to craft the perfect scene.
There’s an obvious reverence for the process that’s satisfying and immersive, but “The Fall Guy” ultimately doesn’t do much with this set-up. The peek-behind-the-curtain approach becomes window dressing for a film that leans into extremes, distracting us from otherwise relevant commentary on greed, fame, and AI.
And that’s perfectly fine. As a summer blockbuster, “The Fall Guy” delivers, chock full of suitably crunchy fight sequences (Leitch’s background in stunts and action films is on full display), thrilling chases, quip-filled, reference-heavy dialogue, and a central romance that’s earnest and sentimental, carefully tuned for date-night-viewing.
But there are no stakes, which sits strangely, since the nature of stunt work involves performers putting themselves at risk for our entertainment.
There’s a lack of emotional engagement outside of watching beautiful people in a goofy lark that’s watchable without being especially memorable. Supporting turns from Winston Duke, Stephanie Tsu, and a dog that only responds to commands in French are amusing, but underdeveloped.
Footage of Leitch’s actual stunt crew on the film plays over the credits, too, and one can’t help but wish “The Fall Guy” paid more attention to the sacrifice and bravery that goes into the craft — rather than devolving into 80s-inspired ludicrousness.
The film remains consistently funny, however, and never boring. It deserves to be watched on the big screen with a lively crowd as a safe, reliable, mainstream experience accompanied by a large bucket of popcorn.
“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Alex’s Grade: B
By Lynn Venhaus Its basket overflowing with clever Easter Eggs, “The Fall Guy” is an enormously entertaining action-packed valentine to moviemaking that gives stunt men a long overdue standing ovation.
Loosely adapted from the popular 1980s television series that starred Lee Majors as a Hollywood stuntman who doubled as a bounty hunter, “The Fall Guy” is a fast and furious action thriller mixed with a charming romantic comedy that works on both levels.
Man of the Hour Ryan Gosling continues his hot streak, crushing it as the likable goofball Colt Seavers who is the stunt double for an obnoxious marquee movie star.
He fell hard for a woman camera operator now making her first big-budget film, Jody Moreno (Emily Blunt, warm and wonderful), but a set accident changed his perspective on what he made a career doing.
Now back in action, his battle-scarred hero journey and their relationship are complicated, so no spoilers from me, because it’s just too much fun discovering well-placed zingers, sight gags that pop, and a dizzying number of slick twists.
They’re making a ‘serious’ space cowboys-aliens movie called “Metal Storm,” and the script is filled with many references to popular movies, homages to epic stunts of the past, and tips of the hat to the dedicated people who make up the proficient crew.
Because of the extra effort and care here, the movie is a fun excursion while getting wrapped up in the action and the romance. – sincere and heartfelt.
I hope that unicorns, post-it notes and a dog named Jean-Claude make you laugh as much as I did.
With their effortless charm and palpable chemistry, recent Oscar nominees Gosling and Blunt drive this across the finish line as one of the most enjoyable big-screen experiences of the year.
You can tell they were having so much fun filming this movie within a movie because it easily transfers into a crowd-pleaser.
The supporting cast is also first-rate, with Aaron Taylor-Johnson amusing as the insufferable narcissistic actor Tom Ryder, whose careless ways and excessive partying are about to blow up his image, and not in a good way.
Taylor-Johnson, who’s been memorable in “Kick-Ass,” “Nocturnal Animals,” and as Tangerine in “Bullet Train,” is not afraid to play unlikable, and he’s a total cad here, if a bit cartoonish.
His producer Gail Meyer, played by the savvy Hannah Waddingham, who won an Emmy as team owner Rebecca on “Ted Lasso,” goes into damage control. She is broadly drawn as an on-the-nose caricature of a domineering Hollywood insider.
The always likable Winston Duke is the stunt coordinator Dan, and he is Colt’s longtime pal, sharing a warm connection. Stephanie Hsu, fresh off her Oscar-nominated role in “Everything Everywhere All at Once,” is Alma, one of the movie’s efficient creative team, and so is Zara Michales as tech whiz Venti, and they’re lively additions to the plot. Theresa Palmer shows off striking moves as Ryder’s girlfriend and as an actress in the film.
The writer and director are inspired and experienced at delivering this crowd-pleasing adrenalin rush of a contemporary blockbuster while also incorporating sentimental throwbacks to beloved movies and television. It’s also very funny.
Director David Leitch, who was a stunt man for Brad Pitt and Matt Damon (those Bourne movies), and directed the vastly underrated “Atomic Blonde,” worked with screenwriter Drew Pearce on his “Hobbs & Shaw” movie that was part of the “Fast and Furious” franchise. Leitch’s transition to director first happened with his stunt pal Chad Stahelski on the original “John Wick” movie. And the rest, as they say, is history.
Pearce also wrote “Iron Man 3” and the story for “Mission: Impossible – Rogue Nation,” and has the smarts to pull off a snappy story with nifty hairpin turns and the character-driven humor.
First and foremost, though, the movie celebrates those unsung heroes who keep on ticking after being thrown off buildings, set on fire, inside car rolls, and performing incredible stunts. This should help push the needle towards establishing an Oscar for stunt work, which is long overdue. (Side note: The St. Louis Film Critics Association added a stunt category to its annual awards last year).
You may think you see stunts that resemble scenes from James Bond, “Dune,” “Mission: Impossible” and other tentpole movies, and you would be correct. The writer and director skillfully add plenty of winks and smiles.
Aaron Taylor-Johnson as Tom Ryder
In a movie with dazzling set pieces, it’s nice to see a credit for stunt designer, and that’s Chris O’Hara, supposedly the first credit of its kind on screen. Another meta touch in the movie-within-a-movie is an emphasis on the others who work hard in service of the marquee names.
The movie also benefits from a terrific soundtrack that incorporates classic rock, TV theme songs, and Taylor Swift’s “All Too Well.”
With Gosling and Blunt propelling this brisk-paced movie with their star power, captivating story and thrilling stunt work, “The Fall Guy” kicks off the summer movie season with panache. It incorporates everything I like about going to the movies. You must stay for the credits because there are more delightful visual treats to see.
“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Lynn’s Grade: A It is now streaming on Amazon Prime Video as of Jan. 2, 2025.
The original TV series “The Fall Guy,” which ran for five seasons, from 1981-1986.
Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.
A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.
This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.
This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.
It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.
What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.
Alex C Moore plays Morgan and Walter. Photo by FF.
Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.
Where to begin with this marathon of a show that defies conventions and embraces universal truths?
Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.
The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.
Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.
Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.
Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.
However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…
It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.
Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.
Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.
This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.
According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”
While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”
So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”
In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.
“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.
Toby at the disco. Photo by FF.
The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.
His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.
They are the main couple, but the secondary pair are two older, longtime companions – Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.
In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.
For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.
Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.
Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”
It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.
Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.
He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’
Photo by FF.
A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.
Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.
Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.
One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.
Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.
“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.
Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.
“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.
These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.
Tyson Cole is Adam and Leo. Photo by FF.
Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”
Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).
The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.
Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.
While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.
This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.
Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
The Inheritance cast. Photo by FF.
This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.
Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive.Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.
For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance
Production Team Includes Director Paige Price and Scenic Designer Kate Rance
Stages St. Louis is proud to unveil the stellar ensemble cast for its upcoming production of “Steel Magnolias.” This beloved story, known for its memorable characters and heartfelt message, will grace the stage from May 31 – June 30 in The Ross Family Theatre at the Kirkwood Performing Arts Center.
In “Steel Magnolias,” you will take a trip south to the town of Chinquapin, Louisiana and join the ladies at Truvy’s Salon in Chinquapin, Louisiana. There anyone who’s anyone not only comes to get their hair cut and styled, but also leaves with free advice…whether asked for or not. Along with her eager assistant Annelle, Truvy pampers a collection of clients with both style and gossip: M’Lynn and her soon-to-be-married daughter Shelby, the wisecracking and crotchety Ouiser, and the well-to-do Clairee. Together these touching, heartfelt, outspoken, and hilarious ladies forge friendships as strong as steel that help them through both the good times and the bad.
The 2024 Season also includes the smash-hit Disney’s Newsies and concludes with the dazzling Ragtime.
AMY LOUI (M’Lynn) is thrilled to make her STAGES debut. Amy has played every STL Equity stage but one. Regional theaters include Greenbrier Valley Theatre, Copper Mountain Rep, Herringbone Productions Hawaii, STAGES Houston. Recent roles: All My Sons (Kate), Silent Sky (Henrietta), Sweat (Tracy), My Name Is Asher Lev (all women). Nominated for multiple Kevin Kline/Theater Circle Awards, Amy is also a producer and voice talent. Love to all steel magnolias out there – the world needs you. www.amyloui.com
TAYLOR QUICK (Shelby) is overjoyed to be making her STAGES debut! Credits: understudy Anya / Young Anastasia, Anastasia (1st Broadway National Tour); Peggy, 42nd Street (Maltz Jupiter); Millie, Thoroughly Modern Millie (Goodspeed); Sandy, Grease (Fulton); Amalia, She Loves Me (Link Theatre); Liesl, Sound of Music (Fulton, MSMT); Laurey, Oklahoma! (Ogunquit); Penny, Hairspray (Maltz Jupiter); Flaemmchen, Grand Hotel (Lyric Stage). Film: God’s Not Dead 2. Soloist: Broadway at Long’s Park (Lancaster Symphony). Distinguished Young Woman AR 2012. Love to family, Ben, and DGRW. Rejoice Always. @taylorlquick
ZOE VONDER HAAR (Ouiser) has been a STAGES Company member for over 35 years and 75 shows. STAGES: Clue (Mrs. Peacock), Gypsy (Mama Rose), Hello Dolly (Dolly), Always Patsy Cline (Louise). MUNY: Into the Woods (Jack’s Mother), Kinky Boots (Stage Manager), My Fair Lady (Mrs. Higgins STL REP: Sunday In the Park (Mother), Follies (Hattie), Urinetown Ms. Pennywise). FARMERS ALLEY: It Should Been You (Judy), The Cake (Della). Zoe teaches/directs/choreographs at Washington University and St. Margaret of Scotland school.
KARI ELY (Clairee) celebrates 30 STAGES seasons. Favorites include: I DO, I DO, A LITTLE NIGHT MUSIC, THOROUGHLY MODERN MILLIE, GYPSY and CRAZY FOR YOU. Most recent: Thelma in Wedding Band (Black Rep), and two World Premiere plays: THE GOOD SHIP ST. LOUIS (Upstream) and COMFORT (Actors’ Studio). Next up: playing Big Momma opposite her real-life husband Peter Mayer in CAT ON A HOT TIN ROOF (Tennessee Williams Festival). Kari thanks you for supporting live theatre!
JILANNE MARIE KLAUS (Truvy) has acted nationally and internationally on stage and screen for over three decades and is delighted to be joining STAGES St. Louis. After stints in New York and Los Angeles, she returned to the St. Louis stage last year as Ethel in Barefoot in the Park, which earned her a Theatre Critics’ Best Supporting Actress nomination. She would like to thank her family for being as excited about her work as she is.
ABIGAIL ISOM (Annelle) is thrilled to return to STAGES St. Louis, where she made her professional debut in 2006 as Tootie in Meet Me in St. Louis, alongside her parents. Recent credits include Equus (Jill Mason) and Doubt (Sister James) at The Fulton Theatre, as well as Windfall (Hannah Higley), directed by Jason Alexander at Bay Street Theatre. She thanks Gayle Seay, Paige Price, and everyone at STAGES. Love to her friends, family, and Caroline. abigailisom.com @abigailisom
LARI WHITE (Standby) is ecstatic to be returning to STAGES this year. You may have seen her last year as Yvette in Clue. Other roles include Mairead in Lieutenant of Inishmore for which she won a St. Louis Theatre Circle award. Lari is also a multi-instrumentalist under the moniker Kiing Lair. To catch up on all of her projects visit larimaewhite.com. Much love to her family, friends, Archie, and Brock.
LEXY WITCHER (Standby) is a Kansas-born, St. Louis-based performer, and she is thrilled to work with such an amazing cast, crew, and team! Select St. Louis credits: Wayward (First Run Theatre), Carol Kwiatkowski; A Midsummer Night’s Dream (St. Louis Shakespeare), Hippolyta; and Doubt: a parable (Prism Theatre), U/S Sister James. Lexy has also worked with Blue Gate Musicals and various live entertainment venues. Many thanks to Gayle, Paige, Alicia, my family, Zach, and King.
MEME WOLFF (Standby) has performed in theatres across the USA and Canada and is thrilled to be working at STAGES again. Some favorite roles include Boston Marriage (Anna), Who’s Afraid of Virginia Woolf? (Martha) and The Wizard of Oz (Glinda/Auntie Em). Additional work includes Marconi Award winning commercial voice-overs, announcer duties for KSDK-TV and KETC-TV and hosting radio programs on KTRS and KLOU. Some in between jobs include sign language interpreter and dolphin trainer.
PRODUCTION TEAM
“I am thrilled to unveil the extraordinary creative team behind our upcoming production of STEEL MAGNOLIAS,” Artistic Director Gayle Seay said. “Their talent and dedication promise to bring this beloved story to life in ways that will captivate and resonate with our audiences. We invite everyone to join us on this journey as we ‘Experience the Story’ through their remarkable vision and artistry.”
Paige Price will make her debut with STAGES as the director for STEEL MAGNOLIAS. Price brings over 30 years of experience in the industry as a former professional performer, director, producer, and artistic director. On Broadway, she starred in the original casts of SATURDAY NIGHT FEVER, DISNEY’S BEAUTY AND THE BEAST, AND SMOKEY JOE’S CAFÉ. Most recently, she co-produced THE COTTAGE (Broadway 2023) and she is a lead producer on the newly premiered comedy, JUDGEMENT DAY starring Jason Alexander.
The story will come to life with the artistry of Scenic Designer Kate Rance, who returns after creating the iconic set for STAGES’ 2023 production of AIDA. Joining her will be Lighting Designer Sean Savoie, an accomplished electrical veteran returning for his 10th season with STAGES St. Louis.
Costume Designer, Brad Musgrove, has designed 25 productions at STAGES, winning the St. Louis Theatre Circle award for the productions of; ANYTHING GOES, IN THE HEIGHTS, AND CLUE. With great enthusiasm, STAGES welcomes Tony Award winning Sound Designer Nevin Steinberg (Broadway: THE NOTEBOOK, SWEENEY TODD 2023 Revival-Tony Award, HADESTOWN- Ton Award, HAMILTON) and Wig Designer, Daniel J Paller (MARY POPPINS, Tuacahn Center for the Arts, 12 NIGHT/ROMEO AND JULIET, Oregon Shakespeare Festival).
Production Stage Manager Monica Dickhens returns after working on STAGES productions of PATSY CLINE, A CHORUS LINE AND MILLION DOLLAR QUARTET. Her National Tour Credits include: THE COLOR PURPLE, SISTER ACT, AMERICAN IDIOT, LEGALLY BLONDE, CAMELOT (Lou Diamond Phillips), PETER PAN (Cathy Rigby) and JESUS CHRIST SUPERSTAR (Carl Anderson). She will work alongside Production Manager, Kimberly Klearman Peterson (Director of Production, Ballet West in Salt Lake City, Production Manager, Touhill Performing Arts Center).
Tickets for the 2024 Season are on sale now. For more information, please follow STAGES Facebook and Instagram or visit STAGESStLouis.org.
An ultra-violent wild and woolly “Boy Kills World” benefits from a strong cast, wit, and flashy moves, but is hurt by its lack of restraint.
While destined to be a cult classic among genre fans, it’s just too much excess in every way to take it seriously as a narrative feature when it’s clearly a gonzo video game.
Had first-time director Moritz Mohr and his screenwriting partners Tyler Burton Smith, a video game writer, and Arend Remmers, toned down the sickening and savage splatter-fest, it could have been entertaining in a “John Wick” meets “Scott Pilgrim vs. the World” way.
It’s based on Mohr’s same-titled short film that he wrote. With its high-body count, severed limbs and gushing blood, it’s a tough watch.
The action thriller is set in a dystopian future, where the deranged matriarch of an evil dynasty stages “The Culling,” a brutal organized thinning of the dissident herd. Think “The Hunger Games” and “The Purge.”
Emulating Hong Kong action films in a cartoonish and comic-book way, our hero, simply named Boy, is driven by vengeance. As a youth, he witnessed his mother and sister killed in the annual televised spectacle. He is trained by a mentor and grows up to become a martial art killing machine. Think “Kill Bill.”
In this post-apocalyptic world, Hilda Van Der Koy (Famke Janssen) executes people who are a ‘threat’ to their way of life.
Now grown, Bill Skarsgard is the buff assassin who is deaf and mute from the torture he endured. He has repressed his vivid imagination to become an instrument of death.
His part is narrated by H. Jon Benjamin, who voices Bob on “Bob’s Burgers,” and that’s an inspired move. So is the boy talking to his sister’s ghost — Mina is played charmingly by Quinn Copeland.
The mysterious shaman Yayan Ruhian has prepared him for a showdown with this insane totalitarian regime, which besides Janssen, includes Michelle Dockery (“Downtown Abbey”!!!), Sharlto Copley as her idiot husband game show host Glen and a very funny Brett Gelman, of “Stranger Things,” as hard-drinking Gideon.
Jessica Rothe, who made a good impression in “Happy Death Day 2 U,” is their ruthless soldier assassin called “June 27.”
Boy’s resistance group pals are played by Andrew Koji and Isaiah Mustafa, and they have a stand-out scene slicing and dicing in a “winter wonderland’ TV set.
“Do you know how hard it is to get a cereal company to sponsor mass murder?” Melanie screams after things go horribly awry.
Mohr confidently and cheekily directed this fever dream in an over-the-top style that will appeal to all short-attention-span viewers. He unleashes torrents of carnage, like a demented Nickelodeon employee dousing folks with slime, only here it’s buckets of fake blood.
Dawid Szatarski, a fight coordinator who has worked on such films as “Kingsman: The Secret Service” and “Wonder Woman,” designed the fight choreography, and it is a barrage of fast moves and gruesome injuries, captured by stylish camerawork from cinematographer Peter Matjasko, with crisp editing by Lucian Barnard.
The stunt work is exceptional, as expected. If the film weren’t so off-putting with its gore for gore’s sake, it could have had some lasting merit, especially with some of the inspired characters, but it’s just exhaustive fighting from start to finish for 1 hour, 55 minutes.
The plot takes a sharp hairpin turn midway that may not work for viewers, but this film’s audience is there for the mayhem. The director has jumbled a bunch of styles from different films, given it a graphic novel sheen, and presented this slaughter with the mind-numbing and relentless action of a video game.
Produced by Sam Raimi, this work premiered at last fall’s Toronto International Film Festival.
“Boy Kills World” is a 2023 action thriller directed by Moritz Mohr and starring Bill Skarsgard, Famke Janssen, Sharlto Copley, Brett Gelman, Jessica Rothe, Yayan Ruhian and Michelle Dockery. It is rated R for strong bloody violence and gore throughout, language, some drug use and sexual references, and runtime is 1 hour, 55 minutes. It opened in theatres April 26. Lynn’s Grade: C-.
That one little word changes everything in how we perceive “Don’t Wait for the Marlboro Man,” a cryptic collision of lifestyles and values that is interestingly framed in a small space teeming with tension.
The acting trio’s performances are strong, and the production values are too as this enigmatic story unfolds. Director Philip Boehm translated a play written by Olivier Garofalo about two distinctive personalities who meet in a hospital waiting area, from German to English, for its U.S. premiere by Upstream Theater.
An air of mystery pervades because the narrator Eric J. Conners, matter of fact and authoritative, seems to indicate a larger force at work, possibly spiritual and other-worldly in nature.
It is a view askew. But we can only surmise what is real and what is imagined. The two acting partners don’t ever give us a hint, just indicate it may not be so clear-cut by their halting speech patterns and unnatural stylized movements.
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That may be because Boehm said the original script did not punctuate any dialogue, leaving it up to the actors to determine what to do, along with the director, in a collaborative spirit.
Superb Caitlin Mickey plays the driven, controlling Sarah, who has rushed to the hospital from her office after receiving the news of her fiancé’s motorcycle accident. With her cell phone in hand, she is working while waiting for news.
In struts a peculiar fellow, Pedro, and whipsmart Isaiah Di Lorenzo excels at playing oddballs. He is her boyfriend’s motorcycle buddy that she knows nothing about, which immediately puts her on edge. Who is this shaggy dude who brought a grocery sack of snacks and shares information about her, but she’s never heard of him?
She appears to wonder what else doesn’t she know, and what more does he know, but isn’t saying? This establishes an off-kilter sense of action – and reaction.
The pair circle each other warily. Can they trust each other, or will they keep pretending to do this unsettling dance as minutes tick by? They take turns being anxious and apprehensive.
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He has a fondness for ants. She recalls happier times with her partner. His eccentricities agitate her, and her chilly demeanor annoys him. DiLorenzo is always at his best being physical, and Mickey’s skillset is a good foil. The unconventional nature of this play adds to their wordy swordplay.
The sound design by Michael Musgrave-Perkins and Boehm is particularly effective, lending a real but frenetic quality to the proceedings. A vending machine’s noises are contrasted with the medical machine beeps that monitor vital signs, and it’s lulling as we acclimate to the waiting area’s purpose: passing time. But also, eerie.
As the two chat, they touch on personal freedom, social responsibility and risks. The characters are complex, and as the play progresses, their behaviors raise more questions than answers.
Sarah hates motorcycles and disapproved of her beau’s hobby. They don’t seem compatible. But maybe they were attracted by ideology and not by inclination.
Pedro appears to be open-minded but may not like her at all and she acts close-minded but maybe she isn’t so rigid.
Doubtful, but these two are thrown together by happenstance. (Or are they?) And should it matter?
The pieces of the puzzle don’t seem to fit – or maybe they do. It’s up to you, and how you suppose what happened before, during and after figure into this tale.
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The story gives one plenty to ponder once you leave the well-appointed space. Described as a “cold hallway in a hospital with fluorescent lighting,” Mike Loui’s set design is well-suited for the characters’ movements. Steve Carmichael’s lighting design and the intriguing sound design add to the details.
Michele Friedman Siler’s costumes astutely outfit the characters’ personalities – Mickey in a blazer and DiLorenzo in leather jacket, jeans, and bandana, with nifty safety goggles.
“Don’t Wait for the Marlboro Man” is a rumination on life and death that’s well-acted and executed. The characters are drawn together by a man in critical condition. One could overthink it but shouldn’t. Our mortality has an endgame that we all must face, and this taps into that finality.
Upstream Theater presents “Don’t Wait for the Marlboro Man” April 12-14, 18-21, and 25-28 at the Kranzberg Arts Center, 501 N. Grand. All show are at 8 p.m., except Sundays (April 14 at 7 p.m., April 21 at 2 p.m. and April 28 at 2 p.m.). For more information, visit www.upstreamtheater.org
Basically, Francois Truffaut’s “Jules and Jim” knockoff set in the highly competitive world of professional tennis, “Challengers” is a baffling vanity exercise that is a disservice to the considerable talents of its super-cool star trio.
Director Luca Guadagnino has always favored more style than substance, which is frustrating because he tends to meander. (Cases in point: “Call Me by Your Name” and “A Bigger Splash” – although fans like that he is fond of pretty people and luxurious settings.)
He teases an erotic menage-a-trois between best friends broken apart by their fixation and desire for a golden child, but doesn’t complete the game, set, and match. He’s ineffective with pacing, tone, and emotional connection, and the back-and-forth volleying with the timeline becomes distracting.
This melodramatic film is 2 hours, 11 minutes, with a nearly unbearable 45- minute third act as tensions collide that ultimately crashes into an unsatisfying conclusion.
The superficial screenplay is credited to Justin Kuritzkes, and it’s a glossy mess of a love triangle between a former child prodigy and the two high-level players she met as teenagers that have been a major part of her life ever since.
Tough and ambitious Tashi Duncan (Zendaya) first dated slippery Patrick Zweig (Josh O’Connor) but married earnest Art Donaldson (Mike Faist). Art is a champion on a losing streak, and Tashi not only is the mother of his daughter Lily, but his demanding coach. Patrick is down on his luck despite growing up as a rich kid.
Gifted athletes and savvy marketers, Art and Tashi’s lifestyle is a brand, but they rarely look happy. Misery seems to be hanging like a rain cloud, although their creature comforts indicate they once enjoyed pleasure in all aspects of life.
When her strategy for his redemption involves playing a Challengers tournament, which is like the minor leagues, surprise – the former BFFs must face each other!
The timeline toggles between a 2019 setting, then back as college students, and their hook-ups during the past 13 years. The guys, once doubles partners nicknamed “Fire and Ice,” have known each other since they were 12 and roommates in a tennis boarding school.
Betrayals at different stages make the characters hard to like, and Disney teen alum Zendaya, two-time Emmy winner for “Euphoria,” is completely unlikable. She’s mesmerizing but the aloof character is soulless. Guadagnino likes to linger the camera on her, which becomes excessive, and she’s too vague emotionally to sustain interest.
Now the guys, believably boyish and intense, have serious acting cred. They deliver fascinating performances, although not trustworthy because of the secrets and lies, but we needed more. Despite the trio’s magnetic screen presence, their characters’ vulnerabilities are never fully realized.
BAFTA-nominated Faist, who broke through as Riff in the 2021 remake of “West Side Story” after establishing a career in musical theatre on Broadway (Tony nominee as Connor in “Dear Evan Hansen” and was in “Newsies”) has the physicality and energy for the athletic role.
O’Connor won an Emmy in 2021 for playing Prince Charles in “The Crown,” so his playing against type is interesting, and he’s surprisingly robust and gymnastic.
The competitive dynamics are intriguing, and the level of commitment the three make to portraying world-class athletes is remarkable. If only Guadagnino would have taken a page out of Michael Ritchie’s competition films playbook (including “The Candidate,” “Downhill Racer,” and “Smile”), where even victories are at great personal cost. Aesthetics can only take a film so far.
Kuritzkes wants to say a lot, especially on the characters’ codependency, but there is no resolution. Again, we never fully understand the three. What is the price of winning? Why should we care?
There is also a homo-erotic undercurrent that is only teased, if you are looking for that (the film’s trailer is misleading). Apparently, they can’t quit each other, and it’s complicated.
Now the camera work by Sayombhu Mukdeeprom is sensational – and the tennis action is Grand Slam-level. Mukdeeprom has worked with Guadagnino before, and excelled in Ron Howard’s “Thirteen Lives.”
The music score is by Oscar winners Trent Reznor and Atticus Ross (“Social Network” and “Soul”), and it’s mainly modern electric-synthesizer heavy compositions not unlike the hypnotic score for “American Gigolo.” While propulsive, it is at times overpowering.
The guys preface a request or rationale to goddess Tashi by saying “You’re going to get mad at me…”
As if that’s their excuse for tiptoeing around her all the time. Please…get out of your own way and move on!
“Challengers” is a 2024 drama directed by Luca Guadagnino and starring Zendaya, Josh O’Connor and Mike Faist. It is rated R for language throughout, some sexual content and graphic nudity and runtime is 2 hours, 11 minutes. It opened in theaters April 26. Lynn’s Grade: D+.
World Premieres with Jenna Ortega, Lily Gladstone, Michael Cera, Maya Erskine, Kristen Stewart, Demi Moore, Rob Lowe, Renée Elise Goldsberry, Mike Birbiglia, Neil Patrick Harris, Liza Minnelli, and More
The 2024 Tribeca Festival, presented by OKX, today unveiled its features lineup, offering a diverse array of narrative, documentary, and animated films. Scheduled to run from June 5-16 in New York City, this year’s Festival promises a thoughtfully curated program and includes everything from timely documentaries addressing political and social concerns to independent narratives showcasing award-winning actors. Additionally, the opening night event, presented in partnership with OKX and City National Bank, was announced.
Tribeca kicks off on Wednesday, June 5 with the world premiere of Diane von Furstenberg: Woman in Charge, an intimate look at the life of the fashion designer and cultural luminary. The film captures Diane von Furstenberg’s impact as a creative icon, who challenged the status quo with the bold inquiry, “Why shouldn’t a woman do what a man can do?” Directed by Tribeca alumni Trish Dalton and Sharmeen Obaid-Chinoy, Woman in Charge opens the lineup of features.
The 2024 selection of feature films includes Jazzy with Lily Gladstone; Daddio starring Dakota Johnson and Sean Penn; Firebrand starring Alicia Vikander and Jude Law; BRATS, directed by Andrew McCarthy, with Demi Moore, Ally Sheedy, Rob Lowe, Molly Ringwald, and Lea Thompson; Sacramento, directed by Michael Angarano, starring Michael Cera, Kristen Stewart, and Maya Erskine; Winter Spring Summer or Fall starring Jenna Ortega and Percy Hynes White; and Liza: A Truly Terrific Absolutely True Story with Liza Minnelli. Comedic stars are in Group Therapy, including Neil Patrick Harris, Mike Birbiglia, and Tig Notaro; All That We Love stars Margaret Cho and Jesse Tyler Ferguson; and Outstanding: A Comedy Revolution features Lily Tomlin, Wanda Sykes, Rosie O’Donnell, Hannah Gadsby, and Joel Kim Booster.
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Music documentaries highlight the boldest voices of each generation with They All Came Out To Montreux with Prince, Sting, Carlos Santana, Aretha Franklin, and Keith Richards; Satisfied about Renée Elise Goldsberry; Linda Perry: Let It Die Here with Linda Perry, Dolly Parton, Brandi Carlile, and Christina Aguilera; and Avicii – I’m Tim with Tim “Avicii” Bergling, Chris Martin and David Guetta. Renée Elise Goldsberry and Linda Perry will be performing following the world premiere of their respective films.
“Each year, the Tribeca Festival reflects our culture, capturing the essence of the present moment. We’re thrilled to showcase our 23rd edition, delving into captivating explorations of artificial intelligence with Demis Hassabis, thought-provoking discussions on the future of democracy, and so much more,” Tribeca Co-Founder and CEO Jane Rosenthal. “Storytelling possesses a remarkable ability to bring us together, offering hope in these challenging times. We eagerly anticipate engaging with audiences on difficult yet timely subjects.”
The 23rd edition of Tribeca reflects our activist roots, to showcase a slate of films that speak to today’s political moment and inform voters ahead of the upcoming election. Hacking Hate, directed by Simon Klose, questions the role of social media in amplifying hate speech and extremism. McVeigh, directed by Mike Ott, portrays right-wing extremism with chilling modern implications. America’s Burning, directed by David Smick and narrated by Michael Douglas, dives into the economic root of hate and division.
At the core of our mission is the belief that art can spark change, particularly in the aftermath of global conflicts. The Cranes Call, directed by Laura Warner, spotlights war crimes investigators for the Clooney Foundation for Justice, led by Amal and George Clooney, as they risk their lives traveling across Ukraine to build cases against Russian soldiers and commanders. Antidote, directed by James Jones, digs into the truth about Russian President Vladimir Putin’s deadly regime. Checkpoint Zoo, directed by Joshua Zeman, documents the daring rescue of thousands of animals trapped behind enemy lines in the Russian invasion of Ukraine. As War continues to affect regions like the Middle East and Ukraine, art serves as a powerful reminder of our shared humanity.
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“In a year of record high submissions, despite industry-wide challenges, and global tumult, our incredible filmmaking community delivered again with some of the most surprising, inspiring, hilarious, galvanizing, boundary-breaking, and downright entertaining work we’ve had the privilege to feature at the festival,” said Tribeca Festival Director and SVP of Programming Cara Cusumano. “Whether grappling with everything from the crisis of global democracy to the most intimate of human dramas, it was heartening to be reminded of the undeniable power of a great film to illuminate our world.”
For the first time, Tribeca’s signature Viewpoints section of bold original visions and innovative perspectives will be in competition. The interdisciplinary program encompasses U.S. and international films across narrative, documentary, and animation, including the animated feature Boys Go to Jupiter starring Elsie Fisher, Tavi Gevinson, Julio Torres, and Sarah Sherman, and the narrative thriller Darkest Miriam with Britt Lower. Documentaries include Champions of the Golden Valley, directed by Ben Sturgulewski, an inspiring sports fable and portrait of people in profound political and social transition, and Searching for Amani, directed by Debra Aroko, a 13-year-old’s dramatic quest to investigate his father’s mysterious murder in one of Kenya’s largest wildlife conservancies.
The final selections were chosen from a record-breaking number of submissions (13,016). This year’s program includes 103 feature films from 114 filmmakers across 48 countries. The lineup comprises 86 world premieres, two international premieres, six North American premieres, and eight New York premieres. Half of the films in competition are directed by women. Additionally, 35% (36) of feature films are directed by BIPOC filmmakers. There are 30 films directed by first-time filmmakers and 25 directors returning to Tribeca with their latest projects.
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The Tribeca Festival is curated by Festival Director and SVP of Programming Cara Cusumano, Artistic Director Frédéric Boyer; VP of Shorts Programming Ben Thompson; Senior Programmers Liza Domnitz, Faridah Gbadamosi, Jarod Neece, José F. Rodriguez; Programmers Casey Baron, Jason Gutierrez, Jonathan Penner, and Madison Egan; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezińska; EVP of Artist Relations Nancy Lefkowitz and VP of Artist Relations Meredith Mohr; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; along with a team of associate programmers; supported and inspired by the legendary Paula Weinstein.
The full feature film lineup is detailed below. For more updates on programming follow @Tribeca and #Tribeca2024 on Twitter, Instagram, Facebook, and LinkedIn. A Tribeca Membership or 2024 Tribeca Festival passes and ticket packages can be purchased at tribecafilm.com.
ABOUT THE TRIBECA FESTIVAL
The Tribeca Festival, presented by OKX, brings artists and diverse audiences together to celebrate storytelling in all its forms, including film, TV, music, audio storytelling, games, and immersive. With strong roots in independent film, Tribeca is synonymous with creative expression and entertainment. Tribeca champions emerging and established voices, discovers award-winning talent, curates innovative experiences, and introduces new ideas through exclusive premieres, exhibitions, conversations, and live performances.
The Festival was founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff in 2001 to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center. The annual Tribeca Festival will celebrate its 23rd year from June 5–16, 2024 in New York City.
In 2019, James Murdoch’s Lupa Systems bought a majority stake in Tribeca Enterprises, bringing together Rosenthal, De Niro, and Murdoch to grow the enterprise.
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ABOUT THE 2024 TRIBECA FESTIVAL PARTNERS
The 2024 Tribeca Festival is presented by OKX and with the support of our partners: AT&T, Audible, Canva, CHANEL, City National Bank, Diageo, Easterseals Disability Services, Indeed, KLM Royal Dutch Airlines, NBC4 and Telemundo 47, NYC Mayor’s Office of Media and Entertainment, National CineMedia, New York Magazine, Spring Studios New York, The Wall Street Journal, Variety, Vulture and WeTransfer.
Diane von Furstenberg: Woman in Charge, (United States) – World Premiere. Child of a Holocaust survivor, Princess by marriage, and founder of a fashion empire, the many faces of fashion icon Diane von Furstenberg are revealed in this captivating and glamorous documentary portrait, featuring interviews with Oprah Winfrey, Marc Jacobs, Hillary Rodham Clinton and more. Directed by Sharmeen Obaid-Chinoy and Trish Dalton. Produced by Fabiola Beracasa Beckman, Tracy Aftergood, Sean Stuart, Obaid-Chinoy and Dalton. A Hulu release.
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U.S. NARRATIVE COMPETITION
Discover breakout independent voices from around the country as these extraordinary world premieres compete for honors in Tribeca’s U.S. Narrative Competition.
Adult Best Friends, (United States) – World Premiere. Inseparable since childhood, levelheaded Katie takes her codependent best friend Delaney on a girls’ trip to break the news that she is getting married. Things do not go as planned. Directed by Delaney Buffett. Written by Katie Corwin, Delaney Buffett. Produced by Marie Nikolova, Delaney Buffett. With Katie Corwin, Delaney Buffett, Zachary Quinto, Cazzie David.
Bitterroot, (United States) – World Premiere. Reeling from a failed marriage and in need of comfort and a new perspective, a middle aged man returns home to take care of his aging mother within the deceptively tranquil landscape of rural Montana. Directed and written by Vera Brunner-Sung. Produced by Ki Jin Kim, Kazua Melissa Vang, Yeej. With Wa Yang, Qu Kue, April Charlo, Gia Vang.
The French Italian, (United States) – World Premiere. A prank on an annoying neighbor escalates to ridiculous heights in this quietly absurd comedy set in the dog-eat-dog world of New York City apartment politics. Directed and written by Rachel Wolther. Produced by Miranda Kahn. With Catherine Cohen, Aristotle Athari, Chloe Cherry, Ruby McCollister.
Griffin in Summer, (United States) – World Premiere. In this coming-of-age comedy, a fourteen-year-old wannabe playwright becomes enamored with a local handyman over the course of summer vacation. Directed and written by Nicholas Colia. Produced by Juliet Berman, Camila Mendes, Rachel Matthews. With Everett Blunck, Melanie Lynskey, Owen Teague, Kathryn Newton.
Jazzy, (United States) – World Premiere. In the follow up to her award-winning film The Unknown Country, filmmaker Morrisa Maltz captures the joys and heartbreaks of childhood friendship as young Jazzy navigates the challenges of growing up on the Oglala Lakota reservation in South Dakota. Directed by Morrisa Maltz. Written by Morrisa Maltz, Vanara Taing, Lainey Bearkiller Shangreaux, Andrew Hajek. Produced by Miranda Bailey, John Way, Natalie Whalen. With Jasmine Bearkiller Shangreaux, Syriah Fool Head Means, Raymond Lee, Lily Gladstone.
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The Knife, (United States) – World Premiere. After the mysterious appearance of a stranger in their home, a young Black family must deal with the fallout of their choices, big and small, as a steadfast detective tries to crack the case over the course of one fateful night. Directed by Nnamdi Asomugha. Written by Nnamdi Asomugha, Mark Duplass. Produced by Nnamdi Asomugha, Mark Duplass, Jonathan Baker. With Nnamdi Asomugha, Melissa Leo, Aja Naomi King, Manny Jacinto.
The Other, Gold, (United States) – World Premiere. At the end of the day, sometimes an old friend and a bowl of ramen are as good as gold. For one Black TV writer, this is just the beginning as she battles grief and ‘pandemic’ isolation in Little Tokyo while seeking to rekindle her bond with a former BFF. Directed by Sharaé Nikai, David Lassiter. Written and produced by Sharaé Nikai. With Sharaé Nikai, Krista Marie Yu, Amin Joseph, Crystal Lee Brown.
Rent Free, (United States) – World Premiere. This freewheeling comedy follows down-on-their-luck Gen Z best friends Ben and Jordan as they mooch off of their friends’ and acquaintances’ hospitality, all while grappling with love, heartbreak and awkward flings. The film’s effortless humor brings forth a fresh exploration on queer male friendship. Directed by Fernando Andrés. Written by Fernando Andrés, Tyler Rugh. Produced by Fernando Andrés, Jacob Roberts, Temple Baker. With Jacob Roberts, David Treviño, Molly Edelman, Neal Mulani.
Sacramento, (United States) – World Premiere. When free-spirited Ricky suddenly reappears in father-to-be Glenn’s life, the two former best friends embark on a spontaneous road trip from LA to Sacramento in Michael Angarano’s original take on the buddy comedy. Directed by Michael Angarano. Written and produced by Chris Smith, Michael Angarano. Produced by Stephen Braun, Chris Abernathy, Eric Fleischman. With Michael Cera, Michael Angarano, Maya Erskine, Kristen Stewart.
Vulcanizadora, (United States) – World Premiere. In this intense tale from provocateur Joel Potrykus, two friends embark on a disturbing mission in the Michigan woods. When their plan unravels, one must face the surreal and unsettling consequences back home. Directed and written by Joel Potrykus. Produced by Ashley Potrykus, Hannah Dweck, Matt Grady. With Joshua Burge, Joel Potrykus, Bill Vincent, Solo Potrykus.
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DOCUMENTARY COMPETITION
Experience the cinema of reality with these remarkable non-fiction premieres sure to make waves in the coming year.
Antidote, (UK) – World Premiere. With extraordinary access and urgent storytelling, Antidote anchors its timely narrative on whistleblowers and activists who have worked to uncover Vladimir Putin’s deadly regime — and are now facing dangerous and fatal consequences for their courageous actions. Directed and produced by James Jones.
Bad Actor: A Hollywood Ponzi Scheme, (United States) – World Premiere. Wannabe actor Zachary Horwitz was desperate to make it big as a movie star. The only thing stopping him was talent. Bad Actor: A Hollywood Ponzi Scheme is a juicy true story about deception, denial, and the seductive promise of fame and fortune.Directed by Joslyn Jensen. Produced by Ted Speaker, Dan O’Meara, Matthew Cherchio.
Checkpoint Zoo, (Ukraine, United States) – World Premiere. After the Russian invasion, thousands of animals were trapped behind enemy lines at the zoo in Kharkiv, Ukraine. Running out of food and water while facing constant peril from Russian bombs, a heroic team of zookeepers and volunteers undertake a daring rescue. Directed and produced by Joshua Zeman. Produced by Zachary Mortensen, Ian Davies, Torquil Jones.
The Debutantes, (United States) – World Premiere. Focusing on the first group of Black debutantes in Canton, Ohio in over a decade, this documentary follows the young women as they unpack the ball’s troubled legacy and chart their path forward, both for tradition and themselves. Directed and produced by Contessa Gayles. Produced by Alyse Shorland, Jannat Gargi, Molly O’Brien.
DRIVER, (United States) – World Premiere. DRIVER is a soulful exploration of resolute female long-haul truck drivers pursuing validation for their hard-earned work as they navigate the oppressive forces in their industry. Employing an intimate lens, Nesa Azimi’s first feature brings the audience into a community of solidarity and self-determination. Directed by Nesa Azimi. Produced by Nesa Azimi, Ines Hofmann Kanna, Nicolas Borel.
Hacking Hate
Hacking Hate, (Sweden, Denmark, Norway) – World Premiere. Simon Klose’s kinetic and socially-pressing documentary follows award-winning Swedish journalist My Vingren as she goes undercover online as a white supremacist in order to expose a network of neo-Nazis and far-right organizations that are viciously fostering hate speech and extremism on a global scale. Directed by Simon Klose. Produced by Elin Kamlert.
Made in Ethiopia, (United States, Ethiopia, Denmark, UK, Canada, South Korea) – World Premiere. Made in Ethiopia examines China’s increasing impact on Africa through the story of charismatic businesswomen Motto, who is tasked with launching the biggest Chinese industrial zone in Ethiopia. Directed by Xinyan Yu, Max Duncan. Produced by Tamara Dawit, Max Duncan, Xinyan Yu.
New Wave, (United States) – World Premiere. With depth and emotional resonance, Elizabeth Ai’s lively first feature is both an endearingly nostalgic exploration of the defiant Vietnamese new wave music scene, as well as a vulnerable and personal look at the filmmaker and her community’s revisiting of their unexamined past. Directed by Elizabeth Ai. Produced by Elizabeth Ai, Rachel Sine.
Pirópolis, (Chile) – World Premiere. Nicolás Molina’s visually astounding Pirópolis drops the viewer in the fiery port city of Valparaíso, Chile and observes a pack of determined volunteer firefighters as they band together to combat turbulent wildfires ravaging the city. Directed by Nicolás Molina. Produced by Joséphine Schroeder, Francisca Barraza.
Quad Gods, (United States) – World Premiere. As the world’s first all quadriplegic esports gaming team, the Quad Gods are fierce competitors in this captivating story that challenges assumptions about disability, and spotlights the restorative power of resilience, passion and found community. Directed by Jess Jacklin. Produced by Johnny Fego, Jess Jacklin.
Sabbath Queen, (United States) – World Premiere. Sabbath Queen is a remarkable 20 year journey in the life of Rabbi Amichai Lau-Lavie, a 39th generation Orthodox rabbi — and drag queen. Directed and produced by Sandi DuBowski.
Shelf Life, (United States) – World Premiere. Quirky and contemplative, this delectable documentary takes us on a surprising global odyssey into the world of cheese, drawing unexpected parallels between the aging of cheese and the human experience of growing old. Directed by Ian Cheney. Produced by Robyn Metcalfe.
Eternal Playground
INTERNATIONAL NARRATIVE COMPETITION
The New-York based Festival breaks its geographical boundaries with the International Narrative Competition, welcoming filmmakers from abroad to join a global platform for contemporary world cinema.
Bikechess, (Kazakhstan) – World Premiere. As Dina, a Kazakh journalist, finds herself disenchanted with reporting inane government initiatives, she balances supporting her activist lesbian sister while navigating a relationship with her married cameraman. Directed and written by Assel Aushakimova. Produced by Antoine Simkine, Almagul Tleukhanova, Christian Fredrik Martin. With Saltanat Nauruz, Assel Abdimavlenova, Shyngys Beibituly, Duisenbek Sydykbekov.
The Dog Thief, (Bolivia, Chile, Mexico, Ecuador, France, Italy) – World Premiere. Martín, an orphan who works as a shoeshine boy, decides to steal the dog of his best client, a lonely tailor he has begun to imagine is his father. Directed and written by Vinko Tomičić Salinas. Produced by Álvaro Manzano Zambrana. With Alfredo Castro, Franklin Aro, Teresa Ruiz, María Luque.
Don’t You Let Me Go, (Uruguay) – World Premiere. Adela has just lost her best friend, Elena, so she boards a magic bus back in time to spend one last beautiful weekend with Elena in a house by the beach. Directed and written by Ana Guevara, Leticia Jorge. Produced by Agustina Chiarino. With Chiara Hourcade, Victoria Jorge, Eva Dans.
Eternal Playground, (France) – World Premiere. It’s the last day of school in Paris and most of first-year music teacher Gaspard’s colleagues are thinking about vacation. But, Gaspard is surreptitiously planning a weekend sleepover in the school with his childhood crew to honor his recently departed twin sister. Directed and written by Pablo Cotten, Joseph Rozé. Produced by Antoine Playoust, Martin Playoust, Nicolas Tzipine. With Andranic Manet, Alassane Diong, Carla Audebaud, Alba-Gaïa Bellugi.
Family Therapy, (Slovenia, Italy, Norway, Croatia, Serbia) – World Premiere. A nouveau riche family finds their life of detached superiority upended when the patriarch’s son from another relationship arrives at the family home, revealing cracks in their staid façade. Directed and written by Sonja Prosenc. Produced by Rok Sečen. With Mila Bezjak, Aliocha Schneider, Marko Mandić, Katarina Stegnar.
Hunters on a White Field, (Sweden) – International Premiere. Three men go on a hunting trip deep in the Swedish forest. Things start well, but one day all the animals vanish and the forest turns eerily quiet, leaving the men alone as they insist the hunt must continue. Directed and written by Sarah Gyllenstierna. Produced by Maria Larsson Guerpillon, Charlotte Most. With Ardalan Esmaili, Magnus Krepper, Jens Hultén.
Samia, (Germany) – World Premiere. Raised in a Somalia torn asunder by civil war and extremists increasingly gaining a foothold, Samia Yusuf Omar, an assertive, independent young woman, fights to realize her dream of becoming an Olympic athlete. Directed by Yasemin Şamdereli. Written by Yasemin Şamdereli, Nesrin Şamdereli, Giuseppe Catozzella. Produced by Simone Catania, Dietmar Güntsche, Anja Karina Richter. With llham Mohamed Osman, Fathia Mohamed Absie, Fatah Ghedi, Elmi Rashid Elmi.
Some Rain Must Fall, (Singapore) – North American Premiere. Mother and housewife Cai thought having a family was everything, but when she inadvertently injures the grandmother of one of her daughter’s less privileged teammates, her supposedly perfect life descends into chaos. Directed and written by Qiu Yang. Produced by Edmond Yang. With Yu Aier, Di Shike, Wei Yibo, Xu Tianyi.
Swimming Home, (UK, Greece, Netherlands, Brazil) – North American Premiere. The presence of a mysterious houseguest exposes subtle fractures in the marriage between a poet and a war correspondent in this sexy, languid drama set on the stunning, sun-baked Mediterranean coast. Directed and written by Justin Anderson. Produced by Emily Morgan, Andy Starke, Giorgos Karnavas. With Christopher Abbott, Mackenzie Davis, Ariane Labed, Nadine Labaki.
Under the Grey Sky, (Poland) – World Premiere. Based on true events, a Belarusian journalist is arrested after covertly livestreaming brutal government crackdowns on peaceful demonstrators following rigged elections. Her husband, refusing to leave her, also faces recriminations from a regime determined to break them both. Directed and written by Mara Tamkovich. Produced by Katarzyna Ocioszynska. With Aliaksandra Vaitsekhovich, Valentin Novopolskij.
Between the Temples
SPOTLIGHT+
Tribeca’s unique Spotlight+ events bring the film experience off the screen with live events, performances, and conversations after each screening.
Bam Bam: The Sister Nancy Story, (Canada) – World Premiere. For decades the iconic track “Bam Bam” has been a sampled darling within the music industry, creating many new stars along the way. But what do we know of its legendary creator? From Kingston to the world, witness the transcendent stylings and legacy of Sister Nancy. Directed by Alison Duke. Produced by Alison Duke, Ngardy Conteh George.
After the Movie: Special performance by Sister Nancy with DJ Gravy.
BRATS, (United States) – World Premiere. Actor/director/writer Andrew McCarthy crisscrosses the country reconnecting with fellow Brat-Packers like Rob Lowe, Demi Moore, Ally Sheedy, Emilio Estevez, and more to reflect on what it meant to be in the Brat Pack and how the label impacted their lives, personally and professionally. Directed by Andrew McCarthy. Produced by Adrian Buitenhuis, Derik Murray. An ABC News Studios release.
After the Movie: Panel to follow featuring director Andrew McCarthy, other members of the cast, and surprise guests.
Desire: The Carl Craig Story, (Switzerland, UK) – World Premiere. At once a portrait of techno producer Carl Craig and a love letter to his city of Detroit, Desire: The Carl Craig Story lays out the vast backdrop of artists and venues who played a part in the rise of Craig’s massive, genre-defying career. Directed by Jean-Cosme Delaloye. Produced by Dan Wechsler, Andreas Roald.
After the Movie: Post premiere musical selection by Carl Craig.
Following Harry, (United States) – World Premiere. Featuring Harry Belafonte, Aja Monet, Aloe Blacc, and Jesse Williams, Following Harry explores the life and legacy of cultural and civil rights icon Harry Belafonte through the stories of those artists and activists carrying on his life’s work dedicated to social justice. Directed by Susanne Rostock. Produced by Frankie Nasso, Edward Zeng, Susanne Rostock.
After the Movie: The presentation of the Harry Belafonte Voices for Social Justice Award with special guests.
Group Therapy, (United States) – World Premiere. Neil Berkeley’s latest is a thoughtful and humorous navigation of personal conversations on mental health. Produced by Kevin Hart, this unique documentary takes the form of a group therapy session led by some of today’s funniest comedians and comic performers. Directed by Neil Berkeley. Produced by Kevin Healey, Luke Kelly-Clyne, Bryan Smiley.
After the Movie: A conversation with film subjects Tig Notaro, Neil Patrick Harris, Mike Birbiglia, London Hughes, Gary Gulman and Atsuko Okatsuka.
Linda Perry: Let It Die Here, (United States) – World Premiere. Award-winning filmmaker Don Hardy explores the life of pioneering songwriter and producer Linda Perry in this intimate and revealing journey. It’s a story of the strength and resilience of a gifted artist, daughter and mother who is finally able to embark on a search to find her own voice. Directed by Don Hardy. Produced by Don Hardy, Shawn Dailey.
After the Movie: Special performance by Linda Perry.
Linda Perry: Let It Die Here
Outstanding: A Comedy Revolution, (United States) – World Premiere. This rapturous documentary steps into the dynamic world of queer stand-up and examines the powerful cultural influence it has had on social change in America. The film combines rare archival materials, stand up performances, and interviews with a show-stopping lineup including Lily Tomlin, Fortune Feimster, Eddie Izzard, and Rosie O’Donnell, to present a definitive history of queer comedy. Directed by Page Hurwitz. Produced by Katherine LeBlond, Page Hurwitz, Wanda Sykes. A Netflix release.
Before the Movie: A standup performance featuring stars of the film.
Rebel Country, (UK, United States) – World Premiere. Country music is changing — or maybe it’s returning to its roots. This musical documentary traces the troubled history and inclusive future of the genre with performances from today’s most talented iconoclasts, including Blanco Brown, Jelly Roll, Lainey Wilson, and BRELAND. Directed and produced by Francis Whately.
After the Movie: A special appearance by platinum selling country music artist BRELAND.
Satisfied, (United States) – World Premiere. An intimate look at the actress Renée Elise Goldsberry; a woman’s struggle to have a family and balance a career, against the backdrop of the hit musical Hamilton. Directed by Chris Bolan, Melissa Haizlip. Produced by Steven Cantor, Jamie Schutz, Chris Bolan.
After the Movie: A performance by Renée Elise Goldsberry and special guests.
State of Silence, (Mexico) – World Premiere. A compelling look at the dangerous, continuing risks committed journalists face in Mexico, where reporting on their country’s corruption and “narco politics” has led to the silencing and killing of some of their peers. Directed by Santiago Maza. Produced by Joris Debeij, Abril López Carrillo.
After the Movie: A conversation with Mexican journalists Marcos Vizcarra and Maria de Jesus Peters, director Santiago Maza and executive producers Diego Luna and Gael García Bernal.
Memes & Nightmares
SPOTLIGHT NARRATIVE
A launching pad for the most buzzworthy new films, Tribeca’s Spotlight section brings audiences anticipated premieres from acclaimed filmmakers and star performers.
All That We Love, (United States) – World Premiere. After losing her beloved dog, Emma Gwon embarks on a heartwarming journey of self-discovery and reconnection with loved ones in Yen Tan’s touching dramedy that celebrates second chances and the power of family bonds. Directed by Yen Tan. Written by Yen Tan, Clay Liford. Produced by Kelly Williams, Rebecca Green, Theresa Steele Page. With Margaret Cho, Jesse Tyler Ferguson, Kenneth Choi, Alice Lee.
Bad Shabbos, (United States) – World Premiere. Over the course of one night during an anything-but-typical New York City shabbos, a family get-together takes a turn for the worse in Daniel Robbins’ unique take on the dinner party farce. Directed by Daniel Robbins. Written by Zack Weiner, Daniel Robbins. Produced by Adam Mitchell. With Jon Bass, Kyra Sedgwick, Method Man, Milana Vayntrub.
Bang Bang, (United States) – World Premiere. Tim Blake Nelson stars as “Bang Bang” Rozyski, an eccentric retired pugilist obsessed with rectifying the sins of his past. Directed by Vincent Grashaw. Written by Will Janowitz. Produced by Ran Namerode, Angelia Adzic, Cole Payne. With Tim Blake Nelson, Glenn Plummer, Kevin Corrigan, Andrew Liner.
Between the Temples, (United States) – New York Premiere. Ben, a young widower and cantor at the local synagogue, finds a sense of purpose and unexpected connection when Carla, his septuagenarian elementary school music teacher who yearns to become a bat mitzvah, re-enters his life. Directed by Nathan Silver. Written by Nathan Silver, C. Mason Wells. Produced by Tim Headington, Theresa Steele Page, Nate Kamiya. With Jason Schwartzman, Carol Kane, Dolly De Leon, Madeline Weinstein. A Sony Pictures Classics release.
Crossing, (Sweden, Denmark, Georgia, Turkey, France) – North American Premiere. Lia, a retired teacher, has promised to find her long-lost niece, Tekla. Her search takes her to Istanbul where she meets Evrim, a lawyer fighting for trans rights and becomes embraced in the local trans community. Directed and written by Levan Akin. Produced by Mathilde Dedye. With Mzia Arabuli, Lucas Kankava, Deniz Dumanli. A MUBI release.
Daddio, (United States) – New York Premiere. New York City. JFK airport. A young woman jumps into the backseat of a yellow taxi toward Manhattan. The cabbie strikes up a conversation, resulting in an epic and remarkable journey. Directed and written by Christy Hall. Produced by Dakota Johnson, Ro Donnelly, Emma Tillinger Koskoff. With Dakota Johnson, Sean Penn. A Sony Pictures Classics release.
In the Summers
The Damned, (UK, Iceland, Ireland, Belgium) – World Premiere. When a ship sinks near her isolated fishing post, Eva must choose: rescue the shipwrecked or survive winter. Guilt ridden, the fishermen believe they are being punished for their choices. Directed by Thordur Palsson. Written by Jamie Hannigan. Produced by Emilie Jouffroy, Kamilla Kristiane Hodøl, John Keville. With Odessa Young, Joe Cole, Rory McCann, Siobhan Finneran.
The Everything Pot, (United States) – World Premiere. A comedy of errors unfolds upon the delivery of The Everything Pot, a wedding gift that inadvertently becomes a Pandora’s box, forcing two couples to reevaluate their respective relationships. Directed, produced and written by Sherise Dorf. Produced by Callie Bloem, Christopher J. Ewing, Sean Patrick Kelly. With Lisa Edelstein, Erik Griffin, James Wolk, Delaney Rowe.
Firebrand, (UK, United States) – North American Premiere. In Tudor England, where court intrigue and the king’s paranoia threaten her survival, Katherine Parr navigates a perilous marriage to the volatile Henry VIII. Directed by Karim Aïnouz. Written by Henrietta Ashworth, Jessica Ashworth. Produced by Gabrielle Tana, Carolyn Marks Blackwood. With Alicia Vikander, Jude Law, Eddie Marsan, Sam Riley. A Roadside Attractions release.
In the Summers, (United States) – New York Premiere. In this poignant debut film, embark on a journey with two sisters as they grapple with their relationship to their well-meaning but troubled father during their childhood summers. Directed and written by Alessandra Lacorazza Samudio. Produced by Alexander Dinelaris, Rob Quadrino, Nando Vila. With Rene Perez Joglar, Sasha Calle, Lio Mehiel, Leslie Grace.
Kneecap, (Ireland) – New York Premiere. The band themselves, Kneecap, star in this raucous, sly award-winning musical set in post-Troubles Belfast when the rap trio erupted as a defiant champion of the Irish language and potent symbol of Ireland’s disenfranchised youth. Directed and written by Rich Peppiatt. Produced by Trevor Birney, Jack Tarling. With Naoise Ó Cairealláin, Liam Óg Ó Hannaidh, Jj Ó Dochartaigh, Michael Fassbender. A Sony Pictures Classics release.
Lake George, (United States) – World Premiere. A pair of misfit oddballs strike a deal too big to pass up — and maybe too good to be true — as they set out on a road trip and redemption story in this dark comedy neo-noir. Directed and written by Jeffrey Reiner. Produced by Jeffrey Reiner, Joey Oglesby, Cleta Ellington. With Shea Whigham, Carrie Coon, Glenn Fleshler, Max Casella.
McVeigh, (United States) – World Premiere. After the Waco siege, an unthinkable plan brews in the mind of army veteran Timothy McVeigh. A psychological thriller based on the harrowing real life events of the deadliest act of domestic terrorism in U.S. history. Directed by Mike Ott. Written by Mike Ott, Alex Gioulakis. Produced by Miles Alva, Nicolaas Bertelsen, Monte Zajicek. With Alfie Allen, Brett Gelman, Ashley Benson, Anthony Carrigan.
Memes & Nightmares, (United States) – World Premiere. If one of the most popular memes goes missing from Twitter, would anyone notice? Executive Produced by LeBron James and Maverick Carter, NBA Twitter King Josiah Johnson seeks an answer, where his journey explores our relationship with ephemeral media, and each other in the digital age. Directed by Charles Todd, Matt Mitchener. Written by Matt Mitchener. Produced by Sheira Rees-Davies, Brock Williams, Benjamin Wiessner. With Josiah Johnson, Jamel Johnson, Mero, Darius Miles.
A Mistake, (New Zealand) – World Premiere. Dr. Beth Taylor is a surgeon at the top of her field, where split-second decisions and millimeter movements can mean the difference between life and death. Christine Jeffs’ edge-of-your-seat medical thriller unpacks the perilous aftermath of a single human error. Directed and written by Christine Jeffs. Produced by Matthew Metcalfe, Christine Jeffs. With Elizabeth Banks, Simon McBurney, Mickey Sumner, Rena Owen.
The Shallow Tale of a Writer Who Decided to Write About a Serial Killer, (United States) – World Premiere. In this darkly comedic tale, a struggling writer’s life turns bizarre when he befriends a retired serial killer who becomes his unlikely marriage counselor and muse. Directed and written by Tolga Karacelik. Produced by Scott Aharoni, Sinan Eczasibasi, Wren Arthur. With Steve Buscemi, John Magaro, Britt Lower.
Treasure, (Germany, France) – International Premiere. Ruth, a neurotic businesswoman from New York, takes her charmingly stubborn Holocaust survivor father on a journey to Poland to make sense of their family’s past. Directed by Julia von Heinz. Written by Julia von Heinz, John Quester. Produced by Fabian Gasmia, Julia Von Heinz, Lena Dunham. With Lena Dunham, Stephen Fry, Zbigniew Zamachowski. A FilmNation Entertainment and Bleecker Street release.
The Wasp, (UK) – World Premiere. In this tense, twist-filled psychological thriller, Naomie Harris and Natalie Dormer deliver captivating performances as two estranged friends who reunite over tea, only to unveil a dangerous and deceptive plot that will irrevocably alter their lives. Directed by Guillem Morales. Written by Morgan Lloyd Malcolm. Produced by Maxime Cottray, Nate Bolotin, Sean Sorensen. With Naomie Harris, Natalie Dormer, Dominic Allburn. A Shout! Studios release.
Winter Spring Summer or Fall, (United States) – World Premiere. Jenna Ortega and Percy Hynes White star in this sweet teen love story about a Harvard-bound girl genius and a laid-back guy who find each other in their final year of high school. Directed by Tiffany Paulsen. Written by Dan Schoffer. Produced by Brad Krevoy, Josh Shader, David Wulf. With Jenna Ortega, Percy Hynes-White, Marisol Nichols, Adam Rodriguez.
Luther: Never Too Much
SPOTLIGHT DOCUMENTARY
Both onscreen and behind the camera, Spotlight Documentary films represent the most noteworthy names in nonfiction premiering high profile new work.
1-800-ON-HER-OWN, (United States) – World Premiere. Ani DiFranco was an unmistakable talent that shook the ‘90s alternative music scene. In this vulnerable look at her life today, she struggles to balance artistry with the demands of family. Directed by Dana Flor. Produced by Amy Hobby.
America’s Burning, (United States) – World Premiere. Narrated by Michael Douglas, America’s Burning calls on a remarkable range of expert perspectives from James Carville to Leon Panetta to Amy Chua as macroeconomist David Smick embarks on a searing dive into the precarious state of America’s seemingly unbridgeable economic divide — with a surprisingly optimistic outlook on its future. Directed by David Smick. Produced by Ian Michaels.
Avicii – I’m Tim, (Sweden, United States) – World Premiere. Before there was Avicii, there was just Tim. For the first time through his own words, witness the journey of a shy but prodigious musical talent who would soon become one of the defining artists of his generation. Directed by Henrik Burman. Produced by Björn Tjärnberg.
Black Table, (United States) – World Premiere. In the wake of the Supreme Court’s decision to abolish affirmative action, this film thoughtfully looks back at the largest class of Black students at Yale in the 1990s, the dining table that bonded them, and how their story informs our future. Directed by John Antonio James, Bill Mack. Produced by Katie Taber, John Antonio James, Bill Mack.
The Cranes Call, (France, Germany, Netherlands, UK, Ukraine, United States) – World Premiere. Working with their team at the Clooney Foundation for Justice, Anya Neistat, a brilliant war crimes investigator, joins forces with Solomiia Stasiv, a young Ukrainian woman just entering the field. Together they document atrocities in the fight to bring Russian generals to trial and justice to the Ukrainian people. Directed by Laura Warner. Produced by Evan Williams.
Emergent City, (United States) – World Premiere. When global developers purchase Industry City — a series of connected industrial buildings within a primarily immigrant, working class community in Brooklyn — conflicting views draw battlelines between residents, city officials and master planners as the fate of the city and contemporary urban development hangs in the balance. Directed by Kelly Anderson, Jay Arthur Sterrenberg. Produced by Kelly Anderson, Brenda Avila-Hanna.
I’m Your Venus
I’m Your Venus, (United States) – World Premiere. A moving and timely documentary following the unsolved murder of Venus Xtravaganza, star of the legendary Paris Is Burning as Venus’ two families — biological and ballroom — come together to seek answers and celebrate her legacy. Directed by Kimberly Reed. Produced by Jamie Schutz, Steven Cantor, Mike Stafford.
It Was All a Dream, (United States) – World Premiere. From the personal archives of journalist and filmmaker dream hampton, this visual ode to the golden era of hip-hop provides intimate access to some of rap’s greatest minds, including dream herself. Directed by dream hampton. Produced by Josh Begley, Morgan Willis, Emir Lewis.
Jago: Into the White, (Italy) – World Premiere. A portrait of the artist as a young man — Jago, a sculptor in Naples, works through the days and nights chipping away at his next marble masterpiece: a recreation of one of Michelangelo’s iconic subjects. Directed by Luigi Pingitore. Produced by Stefano Cardillo.
LIZA: A Truly Terrific Absolutely True Story, (United States) – World Premiere. Rich with archival gems and Liza Minnelli’s own point of view, Bruce David Klein’s luminous documentary celebrates a young entertainer full of boundless raw talent and the deep, creative relationships with her mentors and influences. Directed by Bruce David Klein. Produced by Bruce David Klein, Alexander J. Goldstein, Robert Rich.
Luther: Never Too Much, (United States) – New York Premiere. Dawn Porter offers an in-depth look into the life and career of Luther Vandross as he overcomes personal and professional challenges to become one of the greatest vocalists of all time. Directed by Dawn Porter.
Made in England: The Films of Powell & Pressburger, (UK) – New York Premiere. Martin Scorsese’s personal journey through the films of Powell and Pressburger, the visionary British filmmakers behind classics like The Red Shoes and Black Narcissus, offers a captivating exploration of their genius and enduring influence on cinema. Directed by David Hinton. Produced by Nick Varley, Matt Wells. A Cohen Media Group release.
Pandora’s Code, (United States) – World Premiere. Kyle Vorbach’s documentary, based on his latest novel, delves into the mesmerizing ascent of artificial intelligence, balancing its remarkable capabilities and dark ethical concerns, making for an engaging, thought-provoking exploration of AI’s double-edged sword. Directed and produced by Kyle Vorbach.
Rebel Nun, (United States, UK) – World Premiere. Rebel Nun follows the story of Catholic nun and leading death penalty abolitionist Sister Helen Prejean, whose story was first captured in the 1995 film Dead Man Walking. Now, almost 30 years later, filmmaker Dominic Sivyer takes a look at six decades of the life and work of Sister Helen as she continues to be an inspirational force for justice. Directed and produced by Dominic Sivyer. A Universal Pictures Content Group release.
Untitled Casa Bonita Documentary, (United States) – World Premiere. South Park creators Trey Parker and Matt Stone launch a hands-on attempt to restore the iconic Colorado “eatertainment” mecca Casa Bonita to its former glory. Directed by Arthur Bradford. Produced by Jennifer Ollman.
S/He Is Still Her/e – The Official Genesis P-Orridge Doc, (United States) – World Premiere. An introduction, conversation and perhaps goodbye to Genesis P-Orridge, who left an astounding and provocative legacy on the worlds of music, art, performance, religion and the occult. A larger-than-life personality that must be experienced to be grasped, Genesis opens up portals to a way of living that transforms and transcends. Directed by David Charles Rodrigues. Produced by David Charles Rodrigues, Bud Johnston.
Skywalkers: A Love Story, (China, Hong Kong, France, Malaysia, Russia, Thailand) – New York Premiere. Battling a global pandemic and a fraying relationship, rooftopping sensations Angela Nikolau and Vanya Beerkus face the ultimate test of their love when scaling the world’s newest super-skyscraper in this visually stunning testament to facing fear and letting go. Directed and produced by Jeff Zimbalist. Produced by Maria Bukhonina, Tamir Ardon, Chris Smith. A Netflix release.
Slave Play. Not a Movie. A Play., (United States) – World Premiere. A playful and illuminating self-portrait of writer Jeremy O. Harris as he workshops and mines Slave Play, the provocative play that thrust him into the spotlight, with a new cast of young actors from New York’s William Esper Studio. Directed by Jeremy O. Harris. Produced by Chris Moukarbel. An HBO Documentary Films release.
Stevie Van Zandt: Disciple, (United States) – World Premiere. Stevie Van Zandt: Disciple traces Van Zandt’s career as a musician, activist and actor from the clubs of Asbury Park, NJ, to stadiums around the world, to the Bada Bing Club. Directed by Bill Teck. Produced by David Fisher, Robert Cotto, Bill Teck. An HBO Documentary Films release.
They All Came Out to Montreux, (UK) – World Premiere. Utilizing a wealth of archival footage featuring Prince, Aretha Franklin, Miles Davis and more, They All Came Out to Montreux is an affectionate story about how Claude Nobs turned his Swiss town into the home for one of the world’s biggest jazz festivals. Directed by Oliver Murray. Produced by Bill Lord.
The Thinking Game, (United States) – World Premiere. The Thinking Game chronicles the extraordinary life of visionary scientist Demis Hassabis and his relentless quest to solve the enigma of artificial general intelligence. Directed by Greg Kohs. Produced by Gary Krieg.
Ciera Eis as Claire (left) and Evan Held as Robert in Word for Word, Z Space and Black Artists Contemporary Cultural Experience’s “Boys Go to Jupiter.”
VIEWPOINTS
Tribeca’s home for distinct points of view and bold directorial visions, Viewpoints discovers the most boundary-pushing, rule-breaking new voices in independent film. For the first time, Viewpoints selections will be presented in competition.
Alien Weaponry: Kua Tupu Te Ara, (New Zealand) – World Premiere. Meet Alien Weaponry, a thrash metal band that sings in the Maori language, as they figure out how to navigate the music industry, culture, family, tour, and each other. Directed by Kent Belcher. Produced by Nigel McCulloch.
Arzé, (Lebanon, Egypt, Saudi Arabia) – North American Premiere. When the scooter that struggling mother Arzé buys for her son to deliver her homemade pies is stolen, the two take a desperate, kaleidoscopic journey through Beirut in pursuit of the purloined moped. Directed by Mira Shaib. Written by Louay Khraish, Faissal Sam Shaib. Produced by Louay Khraish, Faissal Sam Shaib, Ali Elarabi. With Diamand Abou Abboud, Betty Taoutel, Bilal Al Hamwi.
Boys Go to Jupiter, (United States) – World Premiere. Suburban Florida is transformed into a 3D animated wonderland in this charming deadpan musical comedy from the creator of Art Sqool, featuring a voice cast of alt-comedy all stars. Directed and written by Julian Glander. Produced by Peisin Yang Lazo. With Jack Corbett, Elsie Fisher, Tavi Gevinson, Julio Torres.
Champions of the Golden Valley, (United States, Afghanistan, Germany) – World Premiere. Former Afghan Olympic hopeful Alishah Farhang establishes Afghanistan’s first ever ski club and the annual Afghan Ski Challenge competition in the ancient mountain town of Bamyan, bringing people together in an unlikely but joyful pastime. Directed by Ben Sturgulewski. Produced by Katie Stjernholm, Baktash Ahadi.
Champions of the Golden Valley
Color Book, (United States) – World Premiere. Following the passing of his wife, a devoted father is learning to raise his son with Down Syndrome as a single parent. While adjusting to their new reality, the two embark on a journey through Metro Atlanta to attend their first baseball game. Directed and written by David Fortune. Produced by Kristen Uno, Kiah Clingman, Autumn Bailey-Ford. With William Catlett, Brandee Evans, Terri J. Vaughn, Jeremiah Daniels.
Darkest Miriam, (Canada) – World Premiere. The fog of grief shrouding Miriam, a branch librarian, begins to lift when she starts a love affair with cab driver Janko. But what’s the deal with the vaguely threatening letters she keeps finding? Directed and written by Naomi Jaye. Produced by Julie Baldassi, Brian Robertson. With Britt Lower, Tom Mercier, Sook-Yin Lee, Jean Yoon.
Era Oculta – Hidden Era, (Mozambique, Germany, Colombia) – World Premiere. In the vibrant city of Maputo, Mozambique, Rastafari artist Phambi works to support his young son’s education while resiliently navigating the complexities of living an artistic life in a dynamic city. Directed and produced by Carlos Vargas. Written by Carlos Vargas, Franziska Ruess. With Paula Matlombe, Ednora Matlombe, Isac Tivane “Phambi”, Ixon Tivane.
Restless, (UK) – World Premiere. The banal life of a middle-aged empty nester is violently shaken in the blink of an eye when hard-partying — and potentially dangerous — new neighbors move in next door. Directed and written by Jed Hart. Produced by Benedict Turnbull, Iain Simpson, Jens Nielsen. With Lyndsey Marshal, Aston McAuley, Barry Ward, Kate Robbins.
Searching for Amani, (Kenya, United States) – World Premiere. A 13-year-old aspiring journalist investigates his father’s mysterious murder within the boundaries of one of Kenya’s largest wildlife conservancies. As a ravaging drought encroaches, his quest to find the killer shifts as the collateral damage of a warming world is revealed. Directed by Nicole Gormley, Debra Aroko. Produced by Peter Goetz, Mungai Kiroga, Nicole Gormley.
They’re Here, (United States) – World Premiere. The playful and inventive They’re Here places the viewer within a community of New Yorkers who have had close encounters with UFOs and reexamined their lifestyles as a result. Directed and produced by Daniel Claridge, Pacho Velez.
Witches, (UK) – World Premiere. Elizabeth Sankey’s deeply personal documentary examines the relationship between the cinematic portrayals of witches and the all-too-real experiences of postpartum depression by utilizing footage that spans the entirety of film history alongside heartrending personal testimony. Directed by Elizabeth Sankey. Produced by Manon Ardisson, Chiara Ventura, Jeremy Warmsley.
The Devil’s Bath
MIDNIGHT
Surprising, shocking, frightening, and thrilling, Tribeca Midnight is the destination for the best in horror and more for late night audiences.
The A-Frame, (United States) – World Premiere. A quantum physicist’s machine opens a portal to a subatomic universe, accidentally discovering a radical cancer treatment. As human trials begin, the stakes rise in this Cronenbergian sci-fi comedy. Directed and written by Calvin Lee Reeder. Produced by Ran Namerode, Angelia Adzic, Cole Payne. With Johnny Whitworth, Dana Namerode, Nik Dodani, Laketa Caston.
Beacon, (United States) – World Premiere. After an ambitious solo trip leaves her shipwrecked on a remote island, a young sailor is rescued by its lone inhabitant: a lighthouse keeper. As the walls of reality begin to vanish and the trust between them unravels, survival becomes a test of grueling proportions. Directed by Roxy Shih. Written by Julio Rojas. Produced by Neil Elman. With Demián Bichir, Julia Goldani Telles. A Fox Entertainment Tideline release.
A Desert, (United States) – World Premiere. While on a road trip, a photographer befriends a young couple whose reckless ways turn his world upside down and into a nightmare in this unpredictable and horror-tinged neo-noir knockout. Directed by Joshua Erkman. Written by Joshua Erkman, Bossi Baker. Produced by Hugues Barbier, Joshua Erkman. With David Yow, Kai Lennox, Sarah Lind, Zachary Ray Sherman.
The Devil’s Bath, (Austria, Germany) – International Premiere. In 18th century Austria, an executed woman has been displayed for all to see. Deeply religious, newlywed Agnes looks upon the woman with pity, but also longing, as her own evil thoughts have begun to arise. Directed and written by Severin Fiala, Veronika Franz. Produced by Georg Aschauer, Ulrich Seidl. With Anja Plaschg, Maria Hofstätter, David Scheid. A Shudder release.
Mars, (United States) – World Premiere. In this outrageous animated comedy, a ragtag group of misfits embark on a wild space adventure to Mars, only to discover they’ve been bamboozled by a billionaire. Directed and produced by Sevan Najarian. Written and produced by Timmy Williams, Zach Cregger, Sam Brown. Produced by Kara Welker, James Bristow, Darren Trumeter. With Trevor Moore, Zach Cregger, Sam Brown, Darren Trumeter.
The Weekend, (Nigeria) – World Premiere. This gripping Nigerian thriller will keep you guessing until the very last moment with its unique take on the age-old question: what’s wrong with the in-laws? Directed by Daniel Emeke Oriahi. Written by Egbemawei Dimiyei Sammy, Vanessa Kanu, Freddie O. Anyaegbunam Jr. Produced by Uche Okocha. With Uzoamaka Aniunoh, Bucci Franklin, Meg Otanwa, Keppy Ekpeyong Bassey.
AMFAD
ESCAPE FROM TRIBECA
Mind-bending premieres, spine-chilling classics, and Godzilla-sized dance parties make for an unforgettable escape tailor-made for adventurous movie lovers craving the extraordinary.
AMFAD: All My Friends Are Dead, (United States) – World Premiere. Slasher cinema gets a candy-coated and raucous new spin as a group of young friends staying at an Airbnb are picked off one by one by a killer whose elaborate murder set pieces are inspired by the seven deadly sins. Directed by Marcus Dunstan. Written by Josh Sims, Jessica Sarah Flaum. Produced by John Baldecci, Sarah Donnelly, Kirk Shaw. With Jade Pettyjohn, Jojo Siwa, Jennifer Ens, Ali Fumiko Whitney. A Cineverse release.
Kill, (India) – New York Premiere. A passenger train bound for New Delhi becomes a battleground of close-quarters combat as a pair of commandos square off against 40 invading bandits. Relentless and wildly entertaining, Nikhil Nagesh Bhat’s action thriller is the most brutal fight film in years. Directed and written by Nikhil Nagesh Bhat. Produced by Hiroo Yash Johar, Guneet Monga Kapoor, Achin Jain. With Lakshya, Raghav Juyal, Tanya Maniktala. A Roadside Attractions release.
She Loved Blossoms More, (Greece, France) – World Premiere. Hoping to bring their dead mother back to life, three brothers build a time machine in this visually decadent, bizarre and altogether mesmerizing head-trip. Directed by Yannis Veslemes. Written by Yannis Veslemes, Dimitris Emmanouilidis. Produced by Fenia Cossovitsa, Christos V. Konstantakopoulos. With Panos Papadopoulos, Dominique Pinon.
