Editor’s note: Following its Philadelphia premiere at the 26th annual Philadelphia Film Festival earlier this month, our own Sam Mauro had the opportunity to sit down with Princess Cyd director Stephen Cone to discuss the indie filmmaker’s latest project, which opens at Museum of the Moving Image in New York on November 3. Their conversation picks up below:
Princess Cyd was a phenomenally structured film, the sort that felt genuinely novelistic without being overwritten. I’m wondering how that cross-media osmosis is fostered…that’s poorly phrased. What do you read?
I spend a lot of my time lamenting my diminishing attention. I think about how quickly and how much I read in high school, versus now where I get distracted by all sorts of different things. I do read, regularly, but it takes me forever. It’s quite embarrassing. I used to read more novels than I do now. I read a lot of film criticism and film theory, actually, and I read a lot of essays. I have a book of American Transcendentalism that I like to pick up and read random passages from Emerson, Whitman, the whole gang.
My favorite author is Marilynne Robinson, who inspired Princess Cyd. I love Housekeeping. Toni Morrison’s Beloved, Housekeeping and Beloved are my favorite books, good writing about spirituality and science and all that sort of thing. I don’t read as much as I used to, is the short answer. I’m reading Moby-Dick right now. It’s Marilynne Robinson’s favorite novel. That may be why I’m reading it.
As someone who is non-binary and gender fluid, I found the character of Katie so affirming and wonderful. How did you find such an acutely positioned, special sort of performer?
Well, it’s an exciting process but a boring answer. I think Chicago is just a great city for talent. There’s no formula. I think you and maybe others would be surprised at the lack of directing I sometimes do on set. It’s much more about a positive vibe, a mutual respect. There’s nudging here and there, but mostly it’s an attitude like, “I respect you to do your job,” just backing off and finding themselves. Malic White, they’re a gender fluid performance artist who looks younger than they are. They’re playing around five or six years younger in the film. But I’m glad to hear that. I always wished we had more of Malic in the film. You know the movie was designed to be about the aunt and the niece, and like, to go into these corners of the store and ask how can you queer this up? I don’t think that was part of the original concept of the story, actually. I was like, “should Cyd meet a boy or a girl? And then I was.”
Do you have an audience who you hope sees your work with whom it resonates?
I get really excited whenever I see an 18, 19, 20-year-old, go into the theater and get really excited. I sort of live for [Princess Cyd], like, getting discovered on Netflix in the middle of the night by some queer girl in Arkansas, though I also wish they’d see it in a theater. With Henry Gamble, I’ve run across really hilariously cruel live-tweets of it by people who are not on the wavelength. That movie’s an interesting litmus test. Some people find it really organic and flowy and others find it profoundly contrived. I do look up these movies, not to massage my own ego, just to watch these kids finding the movie. With a movie like Henry Gamble, there’s gotta be at least one character you can identify with, statistically.
Your films often grapple with a fluidity in sexuality, in gender, in personal expression – in context of the rigidity of so many of the world’s systems, especially Christianity. How do you believe conventional organized religion interacts with personal spirituality?
I always get asked about spirituality versus sexuality, but not that. Cyd was a deliberate break from exploring oppression. The movie is supposed to be easy. Sexual fluidity is so rarely seen in American cinema. I’m thinking hard. I will arrive at an answer. But I’m excited by the challenge. I’m interested in a spiritual worldview, and this is really where Marilynne Robinson comes into play, that is inspired, kind of imaginatively, by antiquities religion, but is deeply grounded in the present moment. My entry point is really Robinson. She is Christian, she loves science as much as theology, she loves the Bible as much as she loves American history. That sort of all-encompassing belief is inspiring to me.
I wouldn’t even call myself a Christian. I barely believe in a spiritual realm. But you can have a worldview that encompasses all the beautiful things without it feeling like a copout. And my movies are a way of, I guess, carve through a wall, and figuring out where these things go wrong and where they go right and also making sure that particular brand of spirituality doesn’t get lazy, as it often can get. What is lazy versus personal and liberating? All I have are questions, too.
I was raised to believe liberal Christian were lazy people who wanted to pick and choose what they liked from Christianity and unable to accept the harsh truths of Christianity. So once I graduated high school and started doubting my faith, I tried to be a liberal Christian for a while, but then I was like, “Oh maybe there is something to that.” It’s like making your own pizza off of a menu. So then I just tried to be an atheist. I don’t want to create my own religion. It’s only now that I believe that it is valid to have a personal faith.
That answer reminds me of Miranda, and of my mother, who raised me in Chicago until I was a toddler. I love how, say, if Miranda lived in California, or Upstate New York, she’d be sharper, or more obnoxious.
(Chuckling) Oh, that’s funny, I’ve never thought of that. Although I have to say, one of my regrets of the film is making her faith what I think is too vague. I actually wish she was more specifically a Christian, and I wish there was a scene of her either going to church or praying. She sort of accidentally became spacey. I feel like that was maybe a mistake. Because her faith should be as formidable as Cyd’s desire, for them to fully meet their match. I think the movie condescends a touch to Miranda’s faith. So much of this movie came out of that concern, you know – are we losing the quiet? Are we losing that ability to dream? We’ve obviously progressed in so many important ways, but I don’t want to lose that quiet.
I think because of that I’m viewed as safe, soft filmmaker. Some critics have an interest in not just textural grit, but also a textual grit. See the risk, there, is that the utopia becomes a lax energy. Whether the movie succeeds or fails, that’s the scary thing. You risk losing action or conflict because you’re enjoying yourself. And certain viewers might just say, “Okay, nice party” and then move on to what they say is a meatier picture. This movie is interesting to gauge people’s entry-points in that sense.
I think I have a good life. But that’s not to say I’ve settled. I’m exhausted with raising money for these micro-budget movies myself. I feel like Princess Cyd was me closing a chapter in my work. Next summer I’ll finally be shooting my first larger project; a Southern family drama.
Bong Joon Ho’s ‘Parasite’ becomes first foreign language film to win Best Picture at the 2020 Oscars
In what turned out to be a somewhat bearable Oscars ceremony, Bong Joon Ho’s wickedly delightful black comedy about class warfare Parasite picked up the coveted Best Picture — making it the first film not in the English language to do so — award along with several others, including Best Director, Best Original Screenplay, and Best International Feature Film.
The acting categories — which turned out to be the most predictable awards of the night — saw wins for Joaquin Phoenix for Joker, Renée Zellweger for Judy, Brad Pitt for Once Upon a Time in Hollywood, and Laura Dern for her performance in Marriage Story.
You can check out the complete list of 2020 Oscar winners below.
Ford v Ferrari
Once Upon a Time in Hollywood
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy
Antonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes
Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
Bong Joon Ho, Parasite
Best Supporting Actress
Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell
Best Supporting Actor
Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood
Best Animated Feature
How to Train Your Dragon: The Hidden World
I Lost My Body
Toy Story 4
Best Animated Short
Best Original Screenplay
Once Upon a Time in Hollywood
Best Adapted Screenplay
The Two Popes
Best Live Action Short
Nefta Football Club
The Neighbors’ Window
Best Production Design
Once Upon a Time in Hollywood
Best Costume Design
Once Upon a Time in Hollywood
The Edge of Democracy
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Cha-Cha
Ford v Ferrari
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker
Ford v. Ferrari
Once Upon a Time in Hollywood
Once Upon a Time in Hollywood
Best Film Editing
Ford v Ferrari
Best Visual Effects
The Lion King
Star Wars: The Rise of Skywalker
Best Makeup and Hairstyling
Maleficent: Mistress of Evil
Best International Feature Film
Pain and Glory
Best Original Score
Star Wars: The Rise of Skywalker
Best Original Song
“I Can’t Let You Throw Yourself Away,” Toy Story 4
“(I’m Gonna) Love Me Again,” Rocketman
“I’m Standing With You,” Breakthrough
“Into the Unknown,” Frozen II
“Stand Up,” Harriet
Lee Isaac Chung’s ‘Minari’ takes home the Grand Jury Prize at the 2020 Sundance Film Festival
As the Sundance Film Festival came to a close this past weekend, several of the films that premiered there went home with awards in-hand, including Lee Isaac Chung’s Minari, which picked up both the Grand Jury Prize and the Audience Award in the U.S. dramatic competition.
The film, which is partially inspired by Chung’s own upbringing, follows a family of Korean immigrants who move to rural Arkansas in the 1980s in search of a new life and the pursuit of the American Dream.
Other Sundance 2020 winners include Jesse Moss and Amanda McBaine’s Boys State, which won the Grand Jury Prize in the U.S. documentary competition, and Massoud Bakshi’s Yalda, a Night for Forgiveness, which won the Grand Jury Prize in the world cinema dramatic competition.
The complete list of winners from the 2020 Sundance Film Festival is as follows:
2020 SUNDANCE FILM FESTIVAL FEATURE FILM AWARDS
The U.S. Grand Jury Prize: Documentary was presented to: Jesse Moss and Amanda McBaine, for Boys State / U.S.A. (Directors: Jesse Moss, Amanda McBaine, Producers: Amanda McBaine, Jesse Moss) — In an unusual experiment, a thousand 17-year-old boys from Texas join together to build a representative government from the ground up.
The U.S. Grand Jury Prize: Dramatic was presented to: Lee Isaac Chung, for Minari / U.S.A. (Director and screenwriter: Lee Isaac Chung, Producers: Dede Gardner, Jeremy Kleiner, Christina Oh) — David, a 7-year-old Korean-American boy, gets his life turned upside down when his father decides to move their family to rural Arkansas and start a farm in the mid-1980s, in this charming and unexpected take on the American Dream. Cast: Steven Yeun, Han Yeri, Youn Yuh Jung, Will Patton, Alan Kim, Noel Kate Cho.
The World Cinema Grand Jury Prize: Documentary was presented to: Hubert Sauper, for Epicentro / Austria, France, U.S.A. (Director and screenwriter: Hubert Sauper, Producers: Martin Marquet, Daniel Marquet, Gabriele Kranzelbinder, Paolo Calamita) — Cuba is well known as a so-called time capsule. The place where the New World was discovered has become both a romantic vision and a warning. With ongoing global cultural and financial upheavals, large parts of the world could face a similar kind of existence.
The World Cinema Grand Jury Prize: Dramatic was presented to: Massoud Bakhshi, for Yalda, a Night for Forgiveness / Iran, France, Germany, Switzerland, Luxembourg (Director and screenwriter: Massoud Bakhshi, Producers: Jacques Bidou, Marianne Dumoulin) — Maryam accidentally killed her husband Nasser and is sentenced to death. The only person who can save her is Mona, Nasser’s daughter. All Mona has to do is appear on a TV show and forgive Maryam. But forgiveness proves difficult when they are forced to relive the past. Cast: Sadaf Asgari, Behnaz Jafari, Babak Karimi, Fereshteh Sadr Orafaee, Forough Ghajebeglou, Fereshteh Hosseini.
The Audience Award: U.S. Documentary, Presented by Acura was presented to: Nicole Newnham and Jim LeBrecht, for Crip Camp / U.S.A. (Directors: Nicole Newnham, Jim LeBrecht, Producers: Sara Bolder, Jim LeBrecht, Nicole Newnham) — Down the road from Woodstock in the early 1970s, a revolution blossomed in a ramshackle summer camp for disabled teenagers, transforming their young lives and igniting a landmark movement.
The Audience Award: U.S. Dramatic, Presented by Acura was presented to: Lee Isaac Chung, for Minari / U.S.A. (Director and screenwriter: Lee Isaac Chung, Producers: Dede Gardner, Jeremy Kleiner, Christina Oh) — David, a 7-year-old Korean-American boy, gets his life turned upside down when his father decides to move their family to rural Arkansas and start a farm in the mid-1980s, in this charming and unexpected take on the American Dream. Cast: Steven Yeun, Han Yeri, Youn Yuh Jung, Will Patton, Alan Kim, Noel Kate Cho.
The Audience Award: World Cinema Documentary was presented to: Jerry Rothwell, for The Reason I Jump / United Kingdom (Director: Jerry Rothwell, Producers: Jeremy Dear, Stevie Lee, Al Morrow) — Based on the book by Naoki Higashida this immersive film explores the experiences of nonspeaking autistic people around the world.
The Audience Award: World Cinema Dramatic was presented to: Fernanda Valadez, for Identifying Features (Sin Señas Particulares) / Mexico, Spain (Director: Fernanda Valadez, Screenwriters: Fernanda Valadez, Astrid Rondero, Producers: Astrid Rondero, Fernanda Valadez, Jack Zagha, Yossy Zagha) ― Magdalena makes a journey to find her son, gone missing on his way to the Mexican border with the US. Her odyssey takes her to meet Miguel, a man recently deported from the U.S. They travel together, Magdalena looking for her son, and Miguel hoping to see his mother again. Cast: Mercedes Hernández, David Illescas, Juan Jesús Varela, Ana Laura Rodríguez, Laura Elena Ibarra, Xicoténcatl Ulloa.
The Audience Award: NEXT, Presented by Adobe was presented to: Heidi Ewing, for I Carry You With Me / U.S.A., Mexico (Director: Heidi Ewing, Screenwriters: Heidi Ewing, Alan Page Arriaga, Producers: Mynette Louie, Heidi Ewing) — An epic love story spanning decades is sparked by a chance encounter between two men in provincial Mexico. Based on a true story, ambition and societal pressure propel an aspiring chef to leave his soulmate and make the treacherous journey to New York, where life will never be the same. Cast: Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Arcelia Ramírez, Michelle González.
The Directing Award: U.S. Documentary was presented to: Garrett Bradley, for Time / U.S.A. (Director: Garrett Bradley, Producers: Lauren Domino, Kellen Quinn, Garrett Bradley) Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.
The Directing Award: U.S. Dramatic was presented to: Radha Blank, for The 40-Year-Old Version / U.S.A. (Director and screenwriter: Radha Blank, Producers: Lena Waithe, Jordan Fudge, Radha Blank, Inuka Bacote-Capiga, Jennifer Semler, Rishi Rajani) — A down-on-her-luck New York playwright decides to reinvent herself and salvage her artistic voice the only way she knows how: by becoming a rapper at age 40. Cast: Radha Blank, Peter Y. Kim, Oswin Benjamin, Reed Birney, Imani Lewis, TJ Atoms.
The Directing Award: World Cinema Documentary was presented to: Iryna Tsilyk, for The Earth Is Blue as an Orange / Ukraine, Lithuania (Director: Iryna Tsilyk, Producers: Anna Kapustina, Giedrė Žickytė) — To cope with the daily trauma of living in a war zone, Anna and her children make a film together about their life among surreal surroundings.
The Directing Award: World Cinema Dramatic was presented to: Maïmouna Doucouré, for Cuties / France (Director and screenwriter: Maïmouna Doucouré, Producer: Zangro) — Amy, 11 years old, meets a group of dancers called “Cuties.” Fascinated, she initiates herself to a sensual dance, hoping to join their band and escape family dysfunction…Cast: Fathia Youssouf, Médina El Aidi-Azouni, Esther Gohourou, Ilanah Cami-Goursolas, Myriam Hamma, Maïmouna Gueye.
The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to: Edson Oda, for Nine Days / U.S.A. (Director and screenwriter: Edson Oda, Producers: Jason Michael Berman, Mette Marie Kongsved, Matthew Lindner, Laura Tunstall, Datari Turner) — In a house distant from the reality we know, a reclusive man interviews prospective candidates—personifications of human souls—for the privilege that he once had: to be born. Cast: Winston Duke, Zazie Beetz, Benedict Wong, Bill Skarsgård, Tony Hale, David Rysdahl. Dolby Institute Fellowship
A U.S. Dramatic Special Jury Award for Ensemble Cast was presented to: the cast of Charm City Kings, for Charm City Kings / U.S.A. (Director: Angel Manuel Soto, Screenwriters: Sherman Payne, Chris Boyd & Kirk Sullivan, Barry Jenkins, Producers: Caleeb Pinkett, Clarence Hammond, Marc Bienstock) — Mouse desperately wants to join The Midnight Clique, the infamous Baltimore dirt bike riders who rule the summertime streets. When Midnight’s leader, Blax, takes 14-year-old Mouse under his wing, Mouse soon finds himself torn between the straight-and-narrow and a road filled with fast money and violence. Cast: Jahi Di’Allo Winston, Meek Mill, Will Catlett, Teyonah Parris, Donielle Tremaine Hansley, Kezii Curtis.
A U.S. Dramatic Special Jury Award: Auteur Filmmaking was presented to: Josephine Decker, for Shirley / U.S.A. (Director: Josephine Decker, Screenwriter: Sarah Gubbins, Producers: Christine Vachon, David Hinojosa, Sue Naegle, Sarah Gubbins, Jeffrey Soros, Simon Horsman) — A young couple moves in with the famed author, Shirley Jackson, and her Bennington College professor husband, Stanley Hyman, in the hope of starting a new life but instead find themselves fodder for a psycho-drama that inspires Shirley’s next novel. Cast: Elisabeth Moss, Michael Stuhlbarg, Odessa Young, Logan Lerman.
A U.S. Dramatic Special Jury Award: Neo-Realism was presented to: Eliza Hittman, for Never Rarely Sometimes Always / U.S.A. (Director and screenwriter: Eliza Hittman, Producers: Adele Romanski, Sara Murphy) — An intimate portrayal of two teenage girls in rural Pennsylvania. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin Skylar embark on a brave, fraught journey across state lines to New York City. Cast: Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold, Sharon Van Etten.
A U.S. Documentary Special Jury Award for Editing was presented to: Tyler H. Walk, for Welcome to Chechnya / U.S.A. (Director: David France, Producers: Alice Henty, David France, Askold Kurov, Joy A. Tomchin) — This searing investigative work shadows a group of activists risking unimaginable peril to confront the ongoing anti-LGBTQ pogrom raging in the repressive and closed Russian republic. Unfettered access and a remarkable approach to protecting anonymity exposes this under-reported atrocity–and an extraordinary group of people confronting evil.
A U.S. Documentary Special Jury Award for Innovation in Non-fiction Storytelling was presented to: Kirsten Johnson, for Dick Johnson Is Dead / U.S.A. (Director: Kirsten Johnson, Screenwriters: Nels Bangerter, Kirsten Johnson, Producers: Katy Chevigny, Marilyn Ness) — With this inventive portrait, a cameraperson seeks a way to keep her 86-year-old father alive forever. Utilizing moviemaking magic and her family’s dark humor, she celebrates Dr. Dick Johnson’s last years by staging fantasies of death and beyond. Together, dad and daughter confront the great inevitability awaiting us all.
A U.S. Documentary Special Jury Award for Emerging Filmmaker was presented to: Arthur Jones, for Feels Good Man / U.S.A. (Director: Arthur Jones, Producers: Giorgio Angelini, Caryn Capotosto, Aaron Wickenden) — When indie comic character Pepe the Frog becomes an unwitting icon of hate, his creator, artist Matt Furie, fights to bring Pepe back from the darkness and navigate America’s cultural divide.
A U.S. Documentary Special Jury Award for Social Impact Filmmaking was presented to: Elyse Steinberg, Josh Kriegman, and Eli Despres, for The Fight / U.S.A. (Directors: Elyse Steinberg, Josh Kriegman, Eli Despres, Producers: Elyse Steinberg, Josh Kriegman, Eli Despres, Maya Seidler, Peggy Drexler, Kerry Washington) — Inside the ACLU, a team of scrappy lawyers battle Trump’s historic assault on civil liberties. As the president separates families, blocks abortion access, expels transgender soldiers, and rolls back voting rights, these gutsy attorneys struggle to stop an unpredictable adversary with unlimited resources.
A World Cinema Dramatic Special Jury Award for Acting was presented to: Ben Whishaw, for Surge / United Kingdom (Director: Aneil Karia, Screenwriters: Rupert Jones, Rita Kalnejais, Producers: Julia Godzinskaya, Sophie Vickers) ― A man goes on a bold and reckless journey of self-liberation through London. After he robs a bank he releases a wilder version of himself, ultimately experiencing what it feels like to be alive. Cast: Ben Whishaw, Ellie Haddington, Ian Gelder, Jasmine Jobson.
A World Cinema Dramatic Special Jury Award for Visionary Filmmaking was presented to: Lemohang Jeremiah Mosese, for This Is Not A Burial, It’s A Resurrection / Lesotho, South Africa, Italy (Director and screenwriter: Lemohang Jeremiah Mosese, Producers: Cait Pansegrouw, Elias Ribeiro) — When her village is threatened with forced resettlement due to reservoir construction, an 80-year-old widow finds a new will to live and ignites the spirit of resilience within her community. In the final dramatic moments of her life, Mantoa’s legend is forged and made eternal. Cast: Mary Twala Mhlongo, Jerry Mofokeng Wa Makheta, Makhoala Ndebele, Tseko Monaheng, Siphiwe Nzima.
A World Cinema Dramatic Special Jury Award for Best Screenplay was presented to: Fernanda Valadez amd Astrid Rondero, for Identifying Features (Sin Señas Particulares) / Mexico, Spain (Director: Fernanda Valadez, Screenwriters: Fernanda Valadez, Astrid Rondero, Producers: Astrid Rondero, Fernanda Valadez, Jack Zagha, Yossy Zagha) ― Magdalena makes a journey to find her son, gone missing on his way to the Mexican border with the US. Her odyssey takes her to meet Miguel, a man recently deported from the U.S. They travel together, Magdalena looking for her son, and Miguel hoping to see his mother again. Cast: Mercedes Hernández, David Illescas, Juan Jesús Varela, Ana Laura Rodríguez, Laura Elena Ibarra, Xicoténcatl Ulloa.
A World Cinema Documentary Special Jury Award for Creative Storytelling was presented to: Benjamin Ree, for The Painter and the Thief / Norway (Director: Benjamin Ree, Producer: Ingvil Giske) — An artist befriends the drug addict and thief who stole her paintings. She becomes his closest ally when he is severely hurt in a car crash and needs full time care, even if her paintings are not found. But then the tables turn.
A World Cinema Documentary Special Jury Award for Cinematography was presented to: Mircea Topoleanu and Radu Ciorniciuc, for Acasa, My Home / Romania, Germany, Finland (Director: Radu Ciorniciuc, Screenwriters: Lina Vdovii, Radu Ciorniciuc, Producer: Monica Lazurean-Gorgan) — In the wilderness of the Bucharest Delta, nine children and their parents lived in perfect harmony with nature for 20 years–until they are chased out and forced to adapt to life in the big city.
A World Cinema Documentary Special Jury Award for Editing was presented to: Mila Aung-Thwin, Sam Soko, and Ryan Mullins, for Softie / Kenya (Director and screenwriter: Sam Soko, Producers: Toni Kamau, Sam Soko) — Boniface Mwangi is daring and audacious, and recognized as Kenya’s most provocative photojournalist. But as a father of three young children, these qualities create tremendous turmoil between him and his wife Njeri. When he wants to run for political office, he is forced to choose: country or family?
The NEXT Innovator Prize was presented to: Heidi Ewing, for I Carry You With Me/ U.S.A., Mexico (Director: Heidi Ewing, Screenwriters: Heidi Ewing, Alan Page Arriaga, Producers: Mynette Louie, Heidi Ewing) — An epic love story spanning decades is sparked by a chance encounter between two men in provincial Mexico. Based on a true story, ambition and societal pressure propel an aspiring chef to leave his soulmate and make the treacherous journey to New York, where life will never be the same. Cast: Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Arcelia Ramírez, Michelle González.
Phoenix: Searchlight Pictures invites you to an advance screening of ‘Downhill’
Searchlight Pictures will release Downhill on February 14 and it’s giving Silver Screen Beat readers in Phoenix a chance to attend an advance screening of the film before it officially opens in theaters.
Our readers in Phoenix can click on this link right now to claim their free passes — good for you and one guest — to attend an advance screening of Downhill happening at Harkins Scottsdale 101 on Monday, February 14 at 7:00 p.m.
Keep in mind that these free passes are distributed on a first-come, first-served basis, so be sure to claim yours as soon as possible before they run out. Below is the official trailer for Downhill as well as some additional details about the film.
Directed by: Nat Faxon, Jim Rash
Cast: Julia Louis-Dreyfus, Will Ferrell, Miranda Otto, Zoe Chao, and Zach Woods
Opens: Friday, February 14
Rating: R for language and some sexual material.
Synopsis: Barely escaping an avalanche during a ski vacation in the Alps throws a seemingly picture-perfect family into disarray as they are forced to reevaluate life, and how they truly feel about each other.