Many people around the world are currently staying at home practising social-distancing to help stop the spread of COVID-19. It's scary and stressful at times and most people have to adjust to working from home and surviving without their favourite extracurricular activities (like going to the movies…) Fortunately, there’s a streaming service whose sole purpose is to make everyone feel better- Disney+! Be it through waves of warm and fuzzy nostalgia or countless hours of family-friendly entertainment to keep the stir-crazy kids occupied, Disney’s vast collection of movies and TV shows could not have come at a better time.
Coffee and croissant in hand at sunrise, pearls, a beehive up-do topped-off with a sparkling tiara, over-sized sunglasses—the reflection of a woman in the glass of a jewelry store. A young girl sprawled out on a tree branch over-looking a party she’s not privy to, an off-duty princess taking a rogue scooter disruptively through a town. All of these simple moments are from films that star the iconic Audrey Hepburn. The percentage and likelihood that you have seen her image next to a cheesy inspirational quote or her face on a poster of a college age woman’s dorm room wall is absolutely certain, whether you have seen any film she is in or not. Maybe the quote was an actual quote she coined, maybe not. It is undebatable that Hepburn’s image, stardom, and influence has far outlived her life.
Here at In Their Own League, we like to support Indie Filmmakers and we were so impressed by Gavin Michael Booth's latest film "Last Call" (you can read Caz's 5 Star review here), so we jumped at the chance to talk to Gavin about how he managed to pull off such a marvellous film. Bee Garner spoke to Gavin about the inception of the film, what single-take films that inspired him and which female filmmakers he admire. Please make sure to check out the links below, especially the making of feature which helps gives a unique insight into the process of the production of this wonderfully moving and impactful film which we hope more people seek out.
The shocking premise of this Sundance-winning film is compelling. Director Massoud Bakhshi's second feature "Yalda, la Nuit du Pardon" ("Yalda, a Night For Forgiveness") shows a woman who must beg for forgiveness on live television or face the death penalty for the accidental murder of her much older husband. It has the hallmarks of a thrilling story, just rife for the big screen.
But unfortunately, there was too much in here that was convoluted or contrived and the drama fizzled out as a result.
Maryam (Sadaf Asgari) is the 26-year-old wife (temporary wife) who accidentally killed her 65-year-old husband during an argument.
Banana Split" is the directorial debut film from director Benjamin Kasulke, with a screenplay written by the film's main star Hannah Marks and Joey Power. The film follows April (Marks) who has spent the last two years of high school in a relationship with Nick (Dylan Sprouse), from the first frantic make-out session to final tear-stained breakup. In the aimless summer between graduation and college, the newly single April mends her heartbreak by striking up an unexpected friendship with an unlikely candidate: Nick’s new girlfriend, Clara (Liana Liberato).
Our writer Mique Watson jumped at the chance to speak to actress Addison Riecke regarding the film after reviewing the film for ITOL. Below, we hear from Addison about how she became involved in the project, what drew her to this story and the character of Agnes. You can read Mique's interview with director, Benjamin Kasulke here.
What do you do with a child so out of control that they are a danger to themselves and others? What if they are too young to be housed in a secure facility and no group homes will take them?
In Nora Fingscheidt’s first scripted feature “System Crasher” (2019) we see innocence meet with blind violent rage in a story that is both infuriating and incredibly sad. This film was Germany's official submission to the International Feature Film category at the 2020 Oscars.
Time can permit legends to eclipse the reality of someone’s life, particularly in Hollywood. Some are unjustly lionized and some greatly disparaged but in the history of film few have been as mischaracterized as Marion Davies. She was a success on stage and screen but her long term relationship with a wealthy, married man and her portrayal in a film loosely based on his life is all that is remembered now.
Born into a wealthy Brooklyn family, Marion started out as a model and then a chorus girl on Broadway. She was then featured in the “Ziegfeld Follies’ which was a hugely popular musical revue that launched many careers at the beginning of the nineteenth century. As she rose in fame as a stage comedienne, the new medium of the “flickers,” or silent film, beckoned.
Writer/director Caleb Johnson’s sophomore effort, "The Carnivores", has a lot of strong intrigue, allure, and character to entrance viewers into its strange story of how man’s best friend is dividing a couple and making one of them oddly obsessed with raw meat.
The film follows Alice (Tallie Medel) and Brett (Lindsay Burdge) as they are divided by Brett’s dog Harvie as his illness is causing him to slowly die. Although Brett wants to spend every last second with him since she feels she has so much history with him, Alice feels like he’s ruining everything. With Brett pretty much being obsessed with Harvie, Alice is starting to feel left out and it’s causing a major rift in their intimacy and love for one another. However, after Alice’s sleepwalking and her issues with Harvie come to a head, Harvie goes missing and the two women begin to uncover strange, beautiful, and even horrifying parts of one another.
“Hava, Maryam, Ayesha” is a film about the everyday struggles of three Afghan women – specifically in relation to patriarchy, marriage and pregnancy – directed and co-written by fellow Afghan woman Sahraa Karimi. In its opening section, focusing on Hava (played by Arezoo Ariapoor), the film makes its focus on the everyday very clear with a documentary-like realism. A frequently handheld camera that shows the routines and chores Hava spends her days performing in full, unbroken takes. Her laboured, exhausted breathing makes up a large part of the film’s soundscape in this segment as she is belittled by the men around her and treated like a disrespected employee rather than a family member.