Union Entertainment Group has expanded its European operations with the launch of Ueg Global, announcing plans to launch a new Dublin-based entity to help create a pathway for North American film and TV projects to shoot in the country.
The film production and financing company, which partnered on films such as Janis: Little Girl Blue and whose president of production Noah C. Haeussner produced the Cannes-bowed Mads Mikkelsen-starring Arctic, has also partnered with Dublin-based production companies on a duo of upcoming projects.
With Zanzibar Films (Sanctuary, A Cambodian Spring) it will co-produce Kaitlin McLaughlin’s sophomore feature The Murphys, while with...
The film production and financing company, which partnered on films such as Janis: Little Girl Blue and whose president of production Noah C. Haeussner produced the Cannes-bowed Mads Mikkelsen-starring Arctic, has also partnered with Dublin-based production companies on a duo of upcoming projects.
With Zanzibar Films (Sanctuary, A Cambodian Spring) it will co-produce Kaitlin McLaughlin’s sophomore feature The Murphys, while with...
- 5/11/2018
- by Alex Ritman
- The Hollywood Reporter - Movie News
Union Entertainment Group has expanded its European operations with the launch of Ueg Global, announcing plans to launch a Dublin-based entity to help create a pathway for North American film and TV projects to shoot in Ireland.
The film production and financing company, which partnered on films such as <i>Janis: Little Girl </i><em>Blue</em> and whose president of production, Noah C. Haeussner, produced the Cannes-bowed Mads Mikkelsen-starring <i>Arctic</i>, has also partnered with Dublin production companies on two upcoming projects.
Ueg will co-produce Kaitlin McLaughlin’s sophomore feature <i>The Murphys</i>, <span style="font-size: 12px;">with Zanzibar Films (</span><i style="font-size: 12px;">Sanctuary</i><span style="font-size: 12px;">,</span><i style="font-size: 12px;"> A Cambodian Spring</i><span style="font-size: 12px;">) and </span><span style="font-size: 12px;">will co-produce an untitled coming-of-age feature</span><span style="font-size: 12px;"> ...</span>...
The film production and financing company, which partnered on films such as <i>Janis: Little Girl </i><em>Blue</em> and whose president of production, Noah C. Haeussner, produced the Cannes-bowed Mads Mikkelsen-starring <i>Arctic</i>, has also partnered with Dublin production companies on two upcoming projects.
Ueg will co-produce Kaitlin McLaughlin’s sophomore feature <i>The Murphys</i>, <span style="font-size: 12px;">with Zanzibar Films (</span><i style="font-size: 12px;">Sanctuary</i><span style="font-size: 12px;">,</span><i style="font-size: 12px;"> A Cambodian Spring</i><span style="font-size: 12px;">) and </span><span style="font-size: 12px;">will co-produce an untitled coming-of-age feature</span><span style="font-size: 12px;"> ...</span>...
- 5/11/2018
- The Hollywood Reporter - Film + TV
Due to the myriad of people seeking refuge from the precarious conditions in their homelands or about crimes committed along the extensive area it crosses, the border that attempts to divide Mexico and the United States is an endless fountain of thought-provoking stories, sometimes uplifting and others gruesome, which have become prime source material for film productions on countless occasions. But while there are very few aspects of this interdependent relationship that haven’t been already explored in cinema, director Michael Dwyer’s “Hostile Border” (formerly known as “Pocha: Manifest Destiny”) follows a singular character with a dubious moral compass, cultural ambiguity, and whose identity is difficult to classify.
Claudia (Veronica Sixtos) is a Mexican-born undocumented American, and while that description may sound contradictory, is perhaps the closest to explain what her situation is. She identifies with American culture, as the only place she has ever called home is the United States, yet her status as an undocumented immigrant places her in a limbo that has no easy solution. When a series of terrible choices lands her back in Mexico, a country foreign to her, she realizes that the fact she can’t speak Spanish and doesn’t know what rural life involves alienate her here too. As a pocha, or someone of Mexican descent who doesn’t speak the language or relates to the culture, Claudia is force to reconsider who she believes she is, at least until she can find a way to return to the U.S. by any means necessary.
We chatted with director Michael Dwyer about his unexpected take on a new type of border story, one that takes from genres like the Western and thriller, and becomes its own unique brand of cinematic social commentary.
"Hostile Border" opens in Los Angeles on April 15 from Samuel Goldwyn Films.
Aguilar: I was born in Mexico. I grew up there and then I moved to the U.S, so I'm always hesitant about the portrayal of immigrants in film and of the relationship between the Us and Mexico. However, "Hostile Border" has a very unique and authentic angle on these stories that I hadn't seen on screen before. The concept of a "pocha" or "pocho" might be familiar to people in the Mexican community but foreign outside of it. How did you come in contact with this story? What was it that drew you to this specific part of the relationship between the two countries?
Michael Dwyer: Primarily I wanted to tell a story that takes a hard look at the American Dream. For me, growing up around the border, the border is a place where there’s not just two cultures, there are many cultures pushing up against each other. I think within that space you’re able to question your own cultural values, be it Mexican or American, and that was really important for me growing up, having different perspectives on what’s really important about the choices you make, on issues of morals and family. I feel like that’s where I’m coming from, that I wanted to tell a different kind of story about the American dream. I think that there are of a lot of cheering, happy stories of people who come to the Us and who aspire to do amazing things, and it's not that I want to diminish that, but coming of age amidst the financial crisis, where there was no consequences for any of that corruption, gave me a certain feeling that the American dream wasn’t designed for everybody, and there are people who are pushed out. I think that perspective is valuable, because I think that there’s this a dark side to the American dream where people get hurt, and that’s very real.
Aguilar: Your protagonist, Claudia, is in this very ambiguous cultural crossroads , because she doesn’t speak Spanish and she’s sent back to a county that she doesn’t know. She not from here but in a sense also not from there. She connects more with American culture, but her birthplace definitely has an influence in her destiny. Can you tell me about creating this character and devising that ambiguity of what she is or what she thinks she is?
Michael Dwyer: I should say that I had been developing this story for many years, and a real turning point for me happened when I was at the border late one night and I witness the deportation of maybe 100 people. I ended up standing on the line with several of them, and I met people who, like Claudia, didn’t speak Spanish and knew very little about Mexico. That was kind of the “inciting incident” for crafting a different story about somebody who is caught in between the two cultures, the two countries, but then it’s also about being caught in between very difficult choices, and the moral implications of each of those cultures. I hope those all tie together and that there’s a through line there.
Aguilar: She is also not “victim." She’s a very strong character. Often stories made about the immigrant experience are about victimization or powerless characters. Claudia is powerless at times in the film, but she’s has this arrogance about her that doesn't let her entertain the idea of failure. Why was important for you not to have a character that's defined as a victim, but rather one that's partly responsible for her circumstances?
Michael Dwyer: We really wanted to show her as this very strong character. I always wanted to make a Western. I wanted her to be the leading character in a Western, be strong, make bold choices, and be somebody who you can judge but also really root for. I think that that’s something we don’t really see a lot in movies – strong female characters who are both good and bad, and complex, and have a character trajectory that we can grapple with. It was definitely about that, and working with the writer and co-director of the movie, Kaitlin McLaughlin, we definitely brought to it our sense of feminist values and we tried to put that in without making it a message thing. We just wanted to give her strength and determination not to be a victim.
Aguilar: Tell me about your choice of genre and the fact that it’s not a drama. It definitely exploits the elements of a thriller. Its very gritty and intense in terms of the violence and tension, but the film still manages to convey all these other themes surrounding the action. Why did you feel that using a blend between Western and thriller elements was the ideal way yo depict these ideas?
Michael Dwyer: I wrote a version of the script a long time ago that was much more exploratory and experimental in terms of the characters. I was very much inspired by José Antonio Villarreal and his novel “Pocho," and that element of the border. But what we really came to figure out is that the feeling of being caught in between cultures and impossible decisions, is a feeling of intent, suspense and tension. Ultimately we felt that the best way to capture that feeling and put the audience with Claudia was to do that with some of the elements of a thriller, and really playing on the suspense. That’s what Kait McLaughlin, the writer, was really great about – pulling those story beats and really trying to move the story as quickly as possible and raise the stakes as high as possible.
Aguilar: Did you shoot the film in Mexico or was it easies for you to shoot in the United States? Was that decision affected by the importance of authenticity or having a realistic depiction of the spaces the characters inhabit?
Michael Dwyer: We shot two weeks in Los Angeles and another seven weeks in Mexico, around Tijuana. I come from a background in documentary film, so I feel like authenticity is very important. The part of the filmmaking process that is really rewarding to me is drawing from the elements of a location, and really listening and responding to people that you are following. I say that because in a way we tried to have a bit of that documentary feeling to it. There are scenes in here involving large amounts of cattle, and that definitely came out of our documentary approach and listening to our friends telling us, “Hey there is this roundup happening and they are going to be doing vaccinations on all of these cows. “ We would stop our day to go see that. We were a small crew, since the film was made with a lot of passion by a very few people, and that also gave us the flexibility to jump around, respond, and not impart a sense of, “This is what I think this place is,” but instead let the place come alive on its own terms.
Aguilar: There visual style on display is vibrant and transforms the landscapes into incredibly beautiful, almost dreamlike, visions. Where does this approach come from?
Michael Dwyer: I’ve worked as a commercial cinematographer and the visual language is part of my passion for filmmaking and storytelling. I’ve been inspired by great cinematographers like Emmanuel Lubezki. I think that because this is a difficult story I wanted it to be beautiful and I wanted it to pull you in. I hope that this adds to bring the audience into her feelings and her world. That was always the driving paradigm for the choices we were trying to make in terms of the framing and the camera movements. It was about how these heightened the feeling of being in Claudia’s shoes - being caught in between impossible choices. We tried to add to that suspense and feeling of unknown and fear.
Aguilar: Veronica Sixtos is a revelation. Although she had appeared in previous film projects, this is an outstanding lead role for her. How did she come on board and what made you believe she could portray Claudia with all her facets?
Michael Dwyer: It was interesting. We had a pretty extensive casting process trying to find somebody who could play this character. It’s a very complex role because we are pushing the line of likeability. We were brought to Veronica through her costar Jesse Garcia who came on to the project very early on and eventually became a producer on it. He brought us to Veronica and I immediately knew that she had both the physicality to carry it, but also the layers to be sympathetic in the way she makes bad choices. I felt that in our first audition and I’m so happy that it all worked out.
Aguilar: The film was originally titled "Pocha," then became "Pocha: Manifest Destiny," and now for release it's called "Hostile Border." Why did you select each of these and why was the decision to ultimately change it taken? It feels like "Pocha" is really the single word that best describe the cultural complexity you are dissecting here.
Michael Dwyer: For me it was always “Pocha” because I think that term doesn’t have just one meaning. You can talk to anybody in the southwest and ask them what a “pocho” or “pocha” is and you’ll get a different answer every time. It’s not one thing. I think we can all agree that it generally becomes one thing but what changes are the different connotations that it carries. To me that captured the ambiguity that we were after, about somebody that’s stuck in between two cultures and difficult moral choices. When we went to the festivals they wanted an English title, so we wanted something that spoke to this idea of the distorted American dream that we wanted to show. I think the terminology of “Manifest Destiny” is definitely something that I enjoyed playing with at the time because “manifest destiny” is a very dangerous term. Historically I don’t think we recognize how much that term was used to justify a lot of enormous violence and human cost. We are trying to speak to what are the human costs of certain American values and ways of thinking like the American dream. I really liked that connection and thought it would speak to it, but ultimately we wrestled with it and we got great feedback from our distributor Samuel Goldwyn Films. I think we came up with a title that I hope is good in its own way and helps reaching a broader audience.
Aguilar: What was the most rewarding aspect of working between Mexico and the U.S. on this film and how each of these places add their own unique qualities to the storytelling?
Michael Dwyer: Absolutely. When we were casting the project we were casting both here in L.A. and in Tijuana at the same time. I think that experience of casting in both places helped made better decisions about the casting decisions. I’d like to mention Jorge Sanders, our production designer, who is Tijuana-based. Working with him was a great collaboration, there were a lot of great collaborations in this film, but that one was especially important and meaningful. He brought authenticity to how everything should be and how it helped tell the story. He contributed an enormous amount. He is a great artist and a great friend.
Aguilar: Did you ever feel like an outsider telling a story that belonged to someone else and how did you approach it in order to understand it from your point of view?
Michael Dwyer: We really struggled with issues of appropriation. Who am I as a white American to tell this kind of story? But ultimately I hope that we were able to capture the complexity and that we did it on terms that are a critique of American values. I think critiquing American values is something that anybody can and should do. I hope that it can speak to lots of different audiences because of that.
Claudia (Veronica Sixtos) is a Mexican-born undocumented American, and while that description may sound contradictory, is perhaps the closest to explain what her situation is. She identifies with American culture, as the only place she has ever called home is the United States, yet her status as an undocumented immigrant places her in a limbo that has no easy solution. When a series of terrible choices lands her back in Mexico, a country foreign to her, she realizes that the fact she can’t speak Spanish and doesn’t know what rural life involves alienate her here too. As a pocha, or someone of Mexican descent who doesn’t speak the language or relates to the culture, Claudia is force to reconsider who she believes she is, at least until she can find a way to return to the U.S. by any means necessary.
We chatted with director Michael Dwyer about his unexpected take on a new type of border story, one that takes from genres like the Western and thriller, and becomes its own unique brand of cinematic social commentary.
"Hostile Border" opens in Los Angeles on April 15 from Samuel Goldwyn Films.
Aguilar: I was born in Mexico. I grew up there and then I moved to the U.S, so I'm always hesitant about the portrayal of immigrants in film and of the relationship between the Us and Mexico. However, "Hostile Border" has a very unique and authentic angle on these stories that I hadn't seen on screen before. The concept of a "pocha" or "pocho" might be familiar to people in the Mexican community but foreign outside of it. How did you come in contact with this story? What was it that drew you to this specific part of the relationship between the two countries?
Michael Dwyer: Primarily I wanted to tell a story that takes a hard look at the American Dream. For me, growing up around the border, the border is a place where there’s not just two cultures, there are many cultures pushing up against each other. I think within that space you’re able to question your own cultural values, be it Mexican or American, and that was really important for me growing up, having different perspectives on what’s really important about the choices you make, on issues of morals and family. I feel like that’s where I’m coming from, that I wanted to tell a different kind of story about the American dream. I think that there are of a lot of cheering, happy stories of people who come to the Us and who aspire to do amazing things, and it's not that I want to diminish that, but coming of age amidst the financial crisis, where there was no consequences for any of that corruption, gave me a certain feeling that the American dream wasn’t designed for everybody, and there are people who are pushed out. I think that perspective is valuable, because I think that there’s this a dark side to the American dream where people get hurt, and that’s very real.
Aguilar: Your protagonist, Claudia, is in this very ambiguous cultural crossroads , because she doesn’t speak Spanish and she’s sent back to a county that she doesn’t know. She not from here but in a sense also not from there. She connects more with American culture, but her birthplace definitely has an influence in her destiny. Can you tell me about creating this character and devising that ambiguity of what she is or what she thinks she is?
Michael Dwyer: I should say that I had been developing this story for many years, and a real turning point for me happened when I was at the border late one night and I witness the deportation of maybe 100 people. I ended up standing on the line with several of them, and I met people who, like Claudia, didn’t speak Spanish and knew very little about Mexico. That was kind of the “inciting incident” for crafting a different story about somebody who is caught in between the two cultures, the two countries, but then it’s also about being caught in between very difficult choices, and the moral implications of each of those cultures. I hope those all tie together and that there’s a through line there.
Aguilar: She is also not “victim." She’s a very strong character. Often stories made about the immigrant experience are about victimization or powerless characters. Claudia is powerless at times in the film, but she’s has this arrogance about her that doesn't let her entertain the idea of failure. Why was important for you not to have a character that's defined as a victim, but rather one that's partly responsible for her circumstances?
Michael Dwyer: We really wanted to show her as this very strong character. I always wanted to make a Western. I wanted her to be the leading character in a Western, be strong, make bold choices, and be somebody who you can judge but also really root for. I think that that’s something we don’t really see a lot in movies – strong female characters who are both good and bad, and complex, and have a character trajectory that we can grapple with. It was definitely about that, and working with the writer and co-director of the movie, Kaitlin McLaughlin, we definitely brought to it our sense of feminist values and we tried to put that in without making it a message thing. We just wanted to give her strength and determination not to be a victim.
Aguilar: Tell me about your choice of genre and the fact that it’s not a drama. It definitely exploits the elements of a thriller. Its very gritty and intense in terms of the violence and tension, but the film still manages to convey all these other themes surrounding the action. Why did you feel that using a blend between Western and thriller elements was the ideal way yo depict these ideas?
Michael Dwyer: I wrote a version of the script a long time ago that was much more exploratory and experimental in terms of the characters. I was very much inspired by José Antonio Villarreal and his novel “Pocho," and that element of the border. But what we really came to figure out is that the feeling of being caught in between cultures and impossible decisions, is a feeling of intent, suspense and tension. Ultimately we felt that the best way to capture that feeling and put the audience with Claudia was to do that with some of the elements of a thriller, and really playing on the suspense. That’s what Kait McLaughlin, the writer, was really great about – pulling those story beats and really trying to move the story as quickly as possible and raise the stakes as high as possible.
Aguilar: Did you shoot the film in Mexico or was it easies for you to shoot in the United States? Was that decision affected by the importance of authenticity or having a realistic depiction of the spaces the characters inhabit?
Michael Dwyer: We shot two weeks in Los Angeles and another seven weeks in Mexico, around Tijuana. I come from a background in documentary film, so I feel like authenticity is very important. The part of the filmmaking process that is really rewarding to me is drawing from the elements of a location, and really listening and responding to people that you are following. I say that because in a way we tried to have a bit of that documentary feeling to it. There are scenes in here involving large amounts of cattle, and that definitely came out of our documentary approach and listening to our friends telling us, “Hey there is this roundup happening and they are going to be doing vaccinations on all of these cows. “ We would stop our day to go see that. We were a small crew, since the film was made with a lot of passion by a very few people, and that also gave us the flexibility to jump around, respond, and not impart a sense of, “This is what I think this place is,” but instead let the place come alive on its own terms.
Aguilar: There visual style on display is vibrant and transforms the landscapes into incredibly beautiful, almost dreamlike, visions. Where does this approach come from?
Michael Dwyer: I’ve worked as a commercial cinematographer and the visual language is part of my passion for filmmaking and storytelling. I’ve been inspired by great cinematographers like Emmanuel Lubezki. I think that because this is a difficult story I wanted it to be beautiful and I wanted it to pull you in. I hope that this adds to bring the audience into her feelings and her world. That was always the driving paradigm for the choices we were trying to make in terms of the framing and the camera movements. It was about how these heightened the feeling of being in Claudia’s shoes - being caught in between impossible choices. We tried to add to that suspense and feeling of unknown and fear.
Aguilar: Veronica Sixtos is a revelation. Although she had appeared in previous film projects, this is an outstanding lead role for her. How did she come on board and what made you believe she could portray Claudia with all her facets?
Michael Dwyer: It was interesting. We had a pretty extensive casting process trying to find somebody who could play this character. It’s a very complex role because we are pushing the line of likeability. We were brought to Veronica through her costar Jesse Garcia who came on to the project very early on and eventually became a producer on it. He brought us to Veronica and I immediately knew that she had both the physicality to carry it, but also the layers to be sympathetic in the way she makes bad choices. I felt that in our first audition and I’m so happy that it all worked out.
Aguilar: The film was originally titled "Pocha," then became "Pocha: Manifest Destiny," and now for release it's called "Hostile Border." Why did you select each of these and why was the decision to ultimately change it taken? It feels like "Pocha" is really the single word that best describe the cultural complexity you are dissecting here.
Michael Dwyer: For me it was always “Pocha” because I think that term doesn’t have just one meaning. You can talk to anybody in the southwest and ask them what a “pocho” or “pocha” is and you’ll get a different answer every time. It’s not one thing. I think we can all agree that it generally becomes one thing but what changes are the different connotations that it carries. To me that captured the ambiguity that we were after, about somebody that’s stuck in between two cultures and difficult moral choices. When we went to the festivals they wanted an English title, so we wanted something that spoke to this idea of the distorted American dream that we wanted to show. I think the terminology of “Manifest Destiny” is definitely something that I enjoyed playing with at the time because “manifest destiny” is a very dangerous term. Historically I don’t think we recognize how much that term was used to justify a lot of enormous violence and human cost. We are trying to speak to what are the human costs of certain American values and ways of thinking like the American dream. I really liked that connection and thought it would speak to it, but ultimately we wrestled with it and we got great feedback from our distributor Samuel Goldwyn Films. I think we came up with a title that I hope is good in its own way and helps reaching a broader audience.
Aguilar: What was the most rewarding aspect of working between Mexico and the U.S. on this film and how each of these places add their own unique qualities to the storytelling?
Michael Dwyer: Absolutely. When we were casting the project we were casting both here in L.A. and in Tijuana at the same time. I think that experience of casting in both places helped made better decisions about the casting decisions. I’d like to mention Jorge Sanders, our production designer, who is Tijuana-based. Working with him was a great collaboration, there were a lot of great collaborations in this film, but that one was especially important and meaningful. He brought authenticity to how everything should be and how it helped tell the story. He contributed an enormous amount. He is a great artist and a great friend.
Aguilar: Did you ever feel like an outsider telling a story that belonged to someone else and how did you approach it in order to understand it from your point of view?
Michael Dwyer: We really struggled with issues of appropriation. Who am I as a white American to tell this kind of story? But ultimately I hope that we were able to capture the complexity and that we did it on terms that are a critique of American values. I think critiquing American values is something that anybody can and should do. I hope that it can speak to lots of different audiences because of that.
- 4/16/2016
- by Carlos Aguilar
- Sydney's Buzz
"Are you, or aren't you a criminal? There is no in between." Samuel Goldwyn Films has released a trailer for the indie thriller Hostile Border, co-directed by Michael Dwyer & Kaitlin McLaughlin. Veronica Sixtos stars as Pocha, a crafty undocumented immigrant living in the Us who is sent back to Mexico, but struggles to cope on the other side of the border. The full cast includes Roberto Urbina, Julio Cedillo, Jorge A. Jimenez, Jesse Garcia and Maria del Carmen Farias. This film was originally titled Pocha: Manifest Destiny at the Los Angeles Film Festival before being renamed to Hostile Border, described as a slow burning crime thriller mixed with a western. This actually looks better than you're probably expecting. Here's the official trailer for Michael Dwyer & Kaitlin McLaughlin's Hostile Border, in high def on Apple: Raised in the U.S., Claudia (22) is an undocumented immigrant living beyond her means in...
- 2/26/2016
- by Alex Billington
- firstshowing.net
Indiewire is proud to exclusively premiere the first trailer for Michael Dwyer and Kaitlin McLaughlin's crime thriller "Pocha (Manifest Destiny)." The film follows Claudia, a young Chicana who is deported to Mexico after getting caught committing credit card fraud. Claudia, who speaks no Spanish, moves in with her estranged father and grandmother at their ranch in northern México and becomes involved with a dangerous smuggler while adjusting to her new life. Newcomer Veronica Sixtos ("Quinceañera") stars as Claudia alongside Roberto Urbina ("Metástasis"), Maria Del Carmen Farias ("El Sueño de Lu"), Jorge Jimenez ("Hermoso Silensio") and Jesse Garcia ("Quinceañera"). Michael Dwyer and Kaitlin McLaughlin co-direct the film, with Dwyer serving as cinematographer for McLaughlin's screenplay. Dwyer's sister Alicia produced the film through her company Veracity Productions. "Pocha...
- 5/20/2015
- by Becca Nadler
- Indiewire
The world premiere of cult web series creators 5-Second Films’ first feature Dude Bro Party Massacre III will screen at the upcoming festival as top brass introduced the Zeitgeist and Nightfall sections.
The festival, set to run from June 10-18, announced programming in both strands as well as the second edition of La Muse strand.
Associate director of programming and curated content Roya Rastegar said Zeitgeist comprised films that speak to pivotal junctures in the lives of young people.
Zeitgeist programme encompasses six world premieres of Us films: Band Of Robbers by Aaron Nee and Adam Nee; A Girl Like Grace by Ty Hodges; In The Treetops by Matthew Brown; Manifest Destiny by Michael Dwyer and Kaitlin McLaughlin; Stealing Cars by Bradley Kaplan; and What Lola Wants by Rupert Glasson.
Describing Nightfall, senior programmer Jennifer Cochis said the films were designed to make audiences squirm.
Films premiering for the first time in the Us are nominated for the...
The festival, set to run from June 10-18, announced programming in both strands as well as the second edition of La Muse strand.
Associate director of programming and curated content Roya Rastegar said Zeitgeist comprised films that speak to pivotal junctures in the lives of young people.
Zeitgeist programme encompasses six world premieres of Us films: Band Of Robbers by Aaron Nee and Adam Nee; A Girl Like Grace by Ty Hodges; In The Treetops by Matthew Brown; Manifest Destiny by Michael Dwyer and Kaitlin McLaughlin; Stealing Cars by Bradley Kaplan; and What Lola Wants by Rupert Glasson.
Describing Nightfall, senior programmer Jennifer Cochis said the films were designed to make audiences squirm.
Films premiering for the first time in the Us are nominated for the...
- 4/21/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The 2011 Nantucket Film Festival wrapped up June 26 with a series of awards and recognitions. The Audience Award for Best Feature went to both "To Be Heard" and "Being Elmo," while the Audience Award for Best Short went to "Thief." Paddy Considine received the Best Writer/Director Award for "Tyrannosaur." Kaitlin McLaughlin won Showtime's Tony Cox Screenplay Competition for "The Murphys," with Showtime’s Tony Cox Award for Screenwriting going to ...
- 6/27/2011
- Indiewire
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