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2017-10-05 20:06:13 ccwire-staff

Opening in Los Angeles on October 20 and in New York on October 27

Director Kelly Noonan Gores’ documentary takes us on a scientific and spiritual journey where we discover that our thoughts, beliefs, and emotions have a huge impact on our health and ability to heal. The latest science reveals that we are not victims of unchangeable genes, nor should we buy into a scary prognosis. The fact is we have more control over our health and life than we have been taught to believe. This film will empower you with a new understanding of the miraculous nature of the human body and the extraordinary healer within us all.

HEAL not only taps into the brilliant minds of leading scientists and spiritual teachers, but follows three people on actual high stakes healing journeys. Healing can be extremely complex and deeply personal, but it can also happen spontaneously in a moment. Through these inspiring and emotional stories we find out what works, what doesn’t, and why.

HEAL is directed, written, and produced by Kelly Noonan Gores and co-produced by Adam Schomer. Cinematography is Chris Gallo and film editing by Tina Mascara. Music by Michael Mollura.

RT: 106 minutes / Not Rated
View Trailer

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2017-09-07 20:55:10 ccwire-staff

Los Angeles, NY- 13 Paces ( is pleased to announce the official selection of ‘SHINE’, for the 21st annualUrbanworld Film Festival to take place September 21-24, 2017 at the AMC Cinemas in Manhattan. The feature film will be screened as part of the American Narratives slate on Friday, September 22 at 5:00 pm EST.

‘SHINE’ clocked in as the first film to sell out of tickets at the 2017 Urbanworld Film Festival, one of the largest internationally competitive festivals of its kind, which holds the support of sponsors like HBO and industry trailblazers Ava DuVernay and Chadwick Boseman as collaborators.

‘SHINE’ is the story of two brothers, once celebrated Salsa dancers, are reunited years after the death of their father, on opposing ends of a city in full bloom gentrification. The film’s message promotes the need for community unification during a pivotal time when America and the world, need it most. The stirring screenplay opens and closes with, We’re all connected from the very first beat to the very last echo.”

Actor David Zayas (Gotham, FOX and Dexter, Showtime) stars as the patriarch driven by family and heritage, and actress, Alysia Reiner (Orange is the New Black, Netflix and Better Things, FX) basks as a relentless real estate developer that’s motivated by capitalistic intentions for East Harlem’s shrinking Barrio.

To learn more about ‘SHINE’ and 13 Paces please visit Follow the conversation via the social media handle @SHINEFILM and the hashtag #Shinethemovie.

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2017-08-31 20:46:58 ccwire-staff

“The Atoning,” is a horror/suspense/thriller from writer/director Michael Williams (OzLand) where, while haunted by ghostly apparitions, two parents try to protect their young son from a dark secret that could destroy their family. “The Atoning” is now available for pre-orders on iTunes, and will be released on DVD, Blu-ray, Digital HD, and in REDBOX on September 5, 2017, announced Williams.

In “The Atoning,” Vera, Ray, and Sam, a seemingly normal family, are haunted by more than mere ghosts. The lingering horror of their past threatens their ability to function as a loving family until they become enlightened by a mystical encounter. From that moment on, they’re thrust into a horror worse than anything they’ve ever experienced. Personal demons manifest and tear the family apart from the inside out as they come to terms with their past.
“The Atoning” was shot in a 140-year-old Victorian house in the director’s hometown of West Point, Mississippi, with principal photography wrapping on August 31, 2016. The film stars Virginia Newcomb, Michael LaCour, Cannon Bosarge, and Dorothy Weems.
“We were incredibly fortunate in the strength and talent of our entire cast and crew and the film’s success is a testament to their energy, commitment, and hard work.  Our producers also did a fantastic job throughout the entire process navigating the business side of things and positioned our film very well,” said Actor/Producer Michael LaCour.
Practical effects were utilized almost exclusively in the film. Beside a handful of shots that required digital enhancements, the vast majority of the effects in the film are practical.
“I wanted “The Atoning” to feel very real and grounded in the film’s aesthetic, even when the story went into other worldly directions. It is important to do as much practically as possible to not only be more efficient but to also make the cinematic experience more fulfilling,” said Williams.
The production utilized FX makeup, old-school camera tricks, and on-set movie magic to realize the film’s various ghostly and demonic elements.
“I’ve been making films in MS for over 13 years and have been fortunate enough to see the industry grow throughout the state. I am consistently amazed at the quality of actors, crew, and filmmakers that populate Mississippi and the surrounding region. For me, it makes sense to produce films in the environment where I feel inspired by the atmosphere around me and to realize that inspiration with talented and hard-working collaborators,” said Williams.
Filmmakers of “The Atoning” are Writer/Director/Producer Michael Williams, Executive Producer/Producer Michael LaCour (who also stars), Executive Producer Daniel Wood, Producer Joni Seitz, Associate Producers Sabrita Gordon and David Roberson, and Composer Keatzi Gunmoney. Williams also serves as the film’s Cinematographer and Editor.
“Both Gravitas Ventures and Cardinal XD have proven to be strong advocates for our film and have done a great job, thus far.  There’s certainly a lot of excitement in the air right now as “The Atoning” creeps towards its release date,” said LaCour.
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2017-07-27 21:50:52 ccwire-staff



STARRING: Céline Bonnier , Anne-Élisabeth Bossé, Gilbert Sicotte, Marie Tifo and Andrée Lachapelle.

Opening on VOD Nationwide on Tuesday, August 15 on all major platforms including: iTunes, Google Play, Amazon, Microsoft, Vudu, Comcast, Charter, Cox, Vimeo, and various other cable operators

THE PASSION OF AUGUSTINE stars Céline Bonnier as Mother Augustine, a Roman Catholic nun who teaches music in a convent school in rural Quebec in the 1960s and who is fighting to preserve her school against the backdrop of the social changes wrought by Vatican II and Quebec’s Quiet Revolution.

When her talented but rebellious niece joins the convent, and when the government threatens to shut down the school in favour of public education, her world is suddenly turned upside down. She and her fellow nuns are forced to confront the waves of modernity, and Mother Augustine herself must search her soul for a new calling. Can she accept her past in order to move forward? Or will she perish with tradition?

THE PASSION OF AUGUSTINE garnered two Canadian Screen Awards at the 4th Canadian Screen Awards in 2016, for Best Actress (Céline Bonnier) and Best Original Score (François Dompierre). For the 18th Quebec Cinema Awards (formerly known as the Prix Jutra), the film won 6, including Best Picture, Best Director and Best Actress, Céline Bonnier.

SOLARIS is a project supported by Telefilm Canada and the Talent Fund as part of their multi- platform “discoverability” initiatives to promote English and French language Canadian movies featuring the country’s brightest stars. In partnership with distributors, Under The Milky Way is internationally releasing some of the best Canadian films in a minimum of six languages on multiple digital platforms over the world including iTunes.

To find out more about these organizations please visit their respective websites.

DRAMA ,103 Minutes, Canada, In French With English Subtitles

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2017-07-20 21:34:38 ccwire-staff

In the summer of 1978 convicted murderer Gary Tison (Robert Patrick) and his cellmate Randy Greenawalt (Chris Browning) staged a daring escape from an Arizona State Prison, with the help of Tison’s three teenage sons. Their murderous rampage through the southwestern desert shocked the nation with its brutality. While Sheriff Cooper (Bruce Davison) hunted them down, Tison’s wife (Heather Graham) vehemently defended her family in the press.

LAST RAMPAGE features a chilling tour-de-force turn by Robert Patrick as Gary Tison in a terrifying story about the dark side of family loyalty.

Director Dwight Little’s true crime thriller is based on James W. Clarke’s bestselling book, Last Rampage: The Escape of Gary Tison. The script was penned by Alvaro Rodriguez (“MACHETE”, “FROM DUSK TILL DAWN: THE SERIES”) and Jason Rosenblatt. Produced by Eric M. Breiman and Robert Patrick. Executive Producers are Dwight Little and Alex Hertzberg. Music by Richard Patrick and Tobias Enhus.

Robert Patrick, Heather Graham, Bruce Davison, and Chris Browning star in LAST RAMPAGE, which is distributed by Epic Pictures.

Established in 2007 by Patrick Ewald and Shaked Berenson, Epic Pictures Group has grown to become one of the most creative and dynamic independent studios, focusing on filmmakers’ vision driven projects, shaping them from script to launch via its domestic distribution division Epic Pictures Releasing. Throughout the past 10 years, Epic produced many genre cult hits including the 2015 Sundance premieres “ENTERTAINMENT” and “TURBO KID” and all-star horror anthology “TALES OF HALLOWEEN”. More recently Epic produced the psychological horror “THE LODGERS,” sci-fi thriller “RADIUS,” action horror “REDCON-1,” and the adventure thriller “THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT” starring Sam Elliott.

In Theaters and On Demand / Digital HD September 22, 2017


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2017-07-13 18:55:40 ccwire-staff

A gripping drama about three lives irrevocably changed when a gun is accidentally fired on a busy Los Angeles street, SHOT is a visceral roller coaster ride unflinchingly exploring the consequences of gun violence in America.

SHOT begins as sound mixer Mark Newman (Wyle), is pumping up the volume on a bloody shootout scene in an action film. Hours later, after an argument with his wife Phoebe (Leal), Mark is suddenly felled by a real random bullet, and lies bleeding on the pavement with a chest wound. With Phoebe desperately trying to stop the bleeding, they both agonizingly wait for an ambulance to arrive as Mark fights for his life. Meanwhile, hidden behind a fence across the street, a teenager, Miguel (Lendeborg), watches in horror with the still smoking gun in his hand. A gun that was just handed to him by his cousin and meant to protect him against gang bullies.

From the moment the shot rings out, Kagan’s camera in real time daringly follows Mark from the street, to stretcher, to gurney, to examining table, as we watch the paramedics and medical teams in full life-saving mode. Through the imaginative use of split-screen, Kagan juxtaposes Mark’s medical crisis with Miguel’s moral one, as we simultaneously see the frightened young man wrestle with the fact that an innocent man was injured – or worse – as a direct result of his actions.

SHOT is directed by Jeremy Kagan and written by Anneke Campbell and Will Lamborn, based on a story by Kagan. The film stars Noah Wyle, Sharon Leal, and Jorge Lendeborg Jr. Producers are Jeremy Kagan, Dave O’Brien, and Josh Siegel. Cinematography by Jacek Laskus, editing by Norman Hollyn, and original music by Bruce Broughton.

RT: 89 minutes





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Alchemy Post Sound Delivers Shattering Foley Effects for Heist Film “Good Time”

2017-07-10 16:57:30 artisanspr

Westchester, New York—Good Time, the new thriller from directors Benny and Josh Safdie, tells the story of a bank heist gone wrong. The film, which screened at the Cannes Film Festival and has attracted wide critical acclaim, stars Robert Pattinson as Connie Nikas, a thief who robs a bank in Queens as part of an ill-conceived scheme to get his mentally handicapped brother Nick (Benny Safdie) out of jail.

Alchemy Post Sound provided Foley effects for the film, supporting its riveting action, vivid imagery and dark humor with creative sound. Working under the direction of Supervising Sound Editor Ryan M. Price, MPSE, and Re-Recording Mixer Evan Mangiamele, the Alchemy team (consisting of Foley artists Leslie Bloome and Joanna Fang and Foley mixers Ryan Collison and Nicholas Seaman) produced a vast assortment of custom sounds in preparing the film for festival screenings.

Sound plays a critical role both in setting the scene and creating the film’s tense atmosphere. “Good Time is a very intimate, gritty film,” explains Price. “The sound needed to have a lot of texture. It needed to make you feel that you were in New York, in a car with the actors and being chased by the police.”


Mangiamele adds that while the Foley needed to be realistic and blend with the production sound, it also had to have a musical quality to integrate seamlessly with Composer Daniel Lopatin’s score, which is featured prominently. “Benny and Josh were really psyched about the score and wanted it to drive the soundtrack,” he notes. “Sound effects are woven in with the music and dialogue in an interesting way.”

Having collaborated previously with Alchemy, Price felt confident that they could deliver Foley effects that met the creative need, and do it efficiently. “The turnaround was tight,” he says. “When the film got into Cannes, we had to move at a fast pace so, for me, it was important to work with people whom I knew were dependable. Alchemy is my go-to facility. They do a great job and I trust their crew.”

One memorable use of sound occurs early in the film. Connie and his accomplices are fleeing a bank after a hold up when a dye pack hidden among their loot explodes and releases an aerosol jet of red dye. Alchemy’s crew added to the frenzy with a dense mix of sound elements. “We took compressed air and gently worked it in as the bag of cash opens,” recalls Fang. “Then, as it explodes, we went crazy. You hear money and plastic flying everywhere. The air sprays viscously as the characters are doused with dye.”

The film’s setting in a rundown section of Queens and cast of low-life characters had a big impact on Alchemy’s approach to Foley. They went to considerable lengths to replicate the environments pictured on screen and mimic the characters’ personalities through their body movements. “The characters in this movie don’t have a lot going for them and the actors do a wonderful job in bringing that out,” notes Bloome. “We wanted to support that in their footsteps.”

Similarly, the film has a very distinct visual style. Cinematographer Sean Price Williams shot much of the film in tight close ups with a hand-held camera. That lends the action a sense of immediacy and realism that the Foley team sought to match. “Scenes like these are very challenging to capture on the Foley stage,” says Bloome. “You want to get the sync right—that’s important—but you also want to capture the actors’ performances, and you’ve got two guys running down a street with stolen cash and you only see them from the chest up.”

The Foley team had the most fun with a scene where a fleeing robber runs into a large window and is captured by police. It includes shattering glass, snapping handcuffs and crunching bootsteps as the perp is led away.  Bloome and Fang created the initial crash by smashing a brick through a giant piece of a plate glass. “We have a very large, dedicated glass pit that we smash stuff in,” says Bloome. “It allows us to do massive effects that at other places might be impossible or would decommission a room for hours.”

Although most of the sound effects in the film are realistic, the shattered glass is purposefully over the top. “Part of our job is to help preserve the first-time viewing experience of the audience,” explains Fang. “We wanted the crash to be just as impactful and out of nowhere for people in the theater as it is for the characters. It’s sudden, it’s painful and it’s loud.”

Although the project had a tight deadline, Fang notes that Alchemy is used to pressure, having worked on many independent films with festival commitments. She adds that the Foley work was split between two crews so that they could meet the deadline without shortchanging creativity or production value. “For us, it’s all about the story and making the characters feel real and alive,” Fang observes. “We are really good at making use of the budget and doing a great job in a limited period of time.”

About Alchemy Post Sound

Alchemy Post Sound is a 3,500 square foot, dedicated Foley studio designed specifically for Foley by resident Foley Artist Leslie Bloome. The company’s Emmy Award-winning staff has created sound for numerous major feature films, long-running television series, independent films and popular games. Alchemy’s services also include music recording, live performance, video production, ADR, and sound design.


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2017-07-08 10:13:31 ccwire-staff

From the director of Our Children Joachim Fosse, comes the story of Boris (Cédric Kahn) and Marie (Bérénice Bejo), a couple who have decided to separate after 15 years together. They have two girls that they adore, but tensions rise as cash-strapped Boris continues to live in the family home. Neither of the two is willing to compromise, making their apartment a war zone.

AFTER LOVE captures with great magnitude, the painfully intimate, harrowingly drama, emotional and financial complexities of a separation, at the end of a long love story.

Visit the website

Watch the Trailer

DIRECTED BY: Joachim Lafosse
STARRING: Bérénice Bejo (The Artist) , Cédric Kahn

Directors Fortnight – Cannes Film Festival, Toronto International Film Festival,
London Film Festival, AFI Fest and many more.



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Technicolor PostWorks Provides a Colorful “Band Aid” Solution

2017-06-22 07:57:10 artisanspr

NEW YORK—Released this month by IFC Films, Band Aid marks the directorial debut of Zoe Lister-Jones, best known for her acting roles on Life in Pieces and New Girl. The film has been earning rave reviews for its engaging story of a couple who turn to songwriting to work out their marital difficulties. It has also generated lots of buzz for Lister-Jones’s unique decision to employ women in all key production and post-production crew positions. That included Colorist Allie Ames from Technicolor PostWorks New York, who worked with the director and Cinematographer Hillary Spera through editorial conforming and final color grading.

Shot in Los Angeles, Band Aid captures both the city’s sun-drenched streets and dimly-lit clubs in a fresh natural manner. Spera, who primarily worked hand-held, says the visual style was heavily influenced by slice-of-life films of the ‘70s, citing the Woody Allen classic Husbands and Wives. “Films of that era have a tangibility; things feel very organic,” she explains. “We went for something similar where the action feels improvised, even though it’s scripted, and we’re just ‘there’ with the camera.”

“Zoe really wanted it to be hand-held, so the actors had space and a chance to roam,” she adds.  “We’re in their home and a part of their world.”


That naturalism was further refined during grading sessions at Technicolor PostWorks. “The film has a soft, filmic vibe,” says Ames. “It’s very Southern California: beautiful skin tones, golden light, slightly lifted blacks. It’s lush. Hillary did a beautiful job. The material looked wonderful coming out of the camera, so it was fun to play with.”

Spera says the grading sessions were very collaborative. She and Ames quickly developed a rapport and reacted similarly to the material. “Allie understood where we wanted to go from our initial talk,” Spera recalls. “We shot with two cameras and vintage lenses, so there was a lot to do in color to make it uniform. Mostly, we wanted to be subtle with color, and Allie got that, but at times we needed to go for more color or a stylized look, and she got that too. It’s hard to make the color feel organic with natural light, and Allie really achieved that beautifully”

As an example of the latter, Spera points to a montage of nightclub scenes where lighting was used to distinguish different performances. “There are a lot of color shifts, and we worked to make each one feel different,” she observes. “We went through that sequence with a fine-toothed comb because it really needed to say something narratively.”

Both Spera and Ames said that they found it inspiring to work on a project driven by women. “Zoe had the vision to hire an all-woman crew, but once we crewed up, it felt like any other project, except in its spirit of collaboration,” Spera says. “Everyone’s voice and ideas were considered and we worked together like a well-oiled machine. At every turn, it was the best it could be.”

“Camera, electrical, sound and editorial…they were all women,” adds Ames. “I’ve had the benefit of working with amazing women directors before, but this was unique and very exciting. It was a real girl power show.”

About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit

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2017-06-15 19:53:21 ccwire-staff

DIRECTED BY: Jamie Kastner

Starring: Ishmael Muslim Ali (formerly LaBeet), Margaret Ratner Kunstler, Michael Ratner

Opens in New York on Friday, June 30th at the Village East with a national release to follow including Los Angeles on July 14 at Laemmle’s Monica Film Center.


From award-winning Canadian filmmaker Jamie Kastner comes THE SKYJACKER’S TALE, which gives unprecedented access to one of the top five most wanted US fugitives in Cuba.

Ishmael Muslim Ali (formerly LaBeet) is the American convicted of murdering eight people on a Rockefeller-owned golf course in the US Virgin Islands. After years of trying to get his conviction overturned, he took matters into his own hands and hijacked an American Airlines plane full of passengers to Cuba on New Years Eve 1984, and got away with it. Until now.

Thirty years on the FBI’s most wanted list and against the backdrop of his looming extradition to serve eight consecutive life sentences in the US, the film recounts the hijacking that got him here, re-examines his original trial and reveals a gross miscarriage of justice. In a story that is more relevant than ever with racially charged police brutality and injustice constantly in the headlines, THE SKYJACKER’S TALE captures LaBeet / Ali’s first interview since the hijacking and includes never before seen footage.

Is he a heartless criminal or a victim? The audience must decide. But what emerges is a picture of American government and law enforcement attitudes and actions toward their own population that are shockingly similar to the headlines of today.

Canada, 76 Minutes, Documentary Feature Film, In English.

OFFICIAL SELECTION: Toronto International Film Festival 2016

Watch the TRAILER

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2017-06-13 19:54:56 ccwire-staff

HEARING IS BELIEVING, the new non-fiction feature from award-winning filmmaker Lorenzo DeStefano, introduces the world to the astonishing young musician and composer, Rachel Flowers.

Born 15 weeks premature, Rachel soon lost her eyesight. At two she began playing every song she heard by ear, including Bach fugues. Starting her musical education at the age of 4, it was soon clear that the child had perfect pitch.

DeStefano and his team have created a dynamic and engaging portrait of two years in the life of a tight- knit American family, a single mom and her two kids, living paycheck to paycheck in Oxnard, California, with Rachel’s stunning music as the soundtrack. The film revels in Rachel’s joyous and free-flowing love of song, illuminating the bonds of family and the divine mysteries of creativity.

Among the great musicians appearing with Rachel in the film are Grammy winners Dweezil Zappa, Arturo Sandoval, and Stevie Wonder, Grammy nominated jazz pianist Taylor Eigsti, the late Progressive Rock icon Keith Emerson, Hawaii ukulele legend Benny Chong, and 50 members of the Santa Barbara Youth Symphony.

Rachel is the recipient of many awards, distinctions, and scholarships, including a Stanford University Jazz Residency, Los Angeles Music Center Spotlight Awards, winner of the Ventura County Student Jazz competition, and private instruction in advanced improvisation through the Thelonious Monk Institute of Jazz.

Rachel has performed for Ray Charles, Stevie Wonder, Quincy Jones, Clark Terry, Herbie Hancock, Herb Alpert, and Wayne Shorter. She is a very active part of several jazz lineups in California and is currently composing original songs and works for orchestra, jazz combo, piano, and voice.

HEARING IS BELIEVING is produced & directed by Lorenzo DeStefano. Executive producer is Patti Channer. Co-producers are Randell J. Brasher, Sandra Laby, Jordan Laby, and Mary Karrh. Editing by Kevin D. Wilson. Cinematography by David Pu’u and Nik Blaskovich. Music by Rachel Flowers.

RT: 104 min / Unrated






Laemmle Music Hall
9036 Wilshire Blvd.
Beverly Hills, CA 90211

Cinema Village
22 East 12th Street
New York, NY 10003

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2017-06-10 20:00:31 ccwire-staff

Till, a bank teller in his mid-30s, is living an uneventful and average life. His marriage to Miriam is happy, but in danger of getting into a rut after all these years of harmony. Suddenly, Till is torn from his routine when a bank robber storms his branch and takes Till and his car hostage. When the kidnapper takes his mask off, Till recognizes Nappo, a former convict and unsuccessful loan applicant at Till’s bank.

As the police set up roadblocks, Nappo decides to abandon Till in the trunk of the car and disappear with his loot. But things do not work out that way and Till and Nappo escape together. After the first shock, Till throws all caution to the wind and dives into adventure with his kidnapper.

Directed by: Peter Thorwarth

Starring: Moritz Bleibtreu, Axel Stein, Jasmin Gerat, Anna Maria Mühe,Nele Kiper, Ralf Richter

Opening on VOD Nationwide on Tuesday, July 11 on all major platforms including iTunes, Google Play, Amazon, Microsoft, Vudu, Comcast, Charter, Cox, Vimeo, and various other cable operators.

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2017-05-18 21:04:02 ccwire-staff

“On a Knife Edge” is a father-son story about Guy and George Dull Knife that unfolds over the course of George’s coming-of-age journey. Under his father’s guidance, George becomes an activist and organizer, and begins identifying with the role of traditional Lakota warrior, which he views as his family legacy. He commits himself to the fight for social justice, but struggles with adapting the old ways and his father’s expectations to the modern-day realities of growing up on the Pine Ridge Reservation.

Told largely through George’s eyes, the film offers a privileged glimpse into the youngest generation of the American Indian Movement, as well as George’s own evolving notions of Native identity, manhood, and duty.

His story is interwoven with animated sequences that depict five generations of family history, narrated by his father and based on paintings he has created to explore the continuum of their fight through the generations.

“On a Knife Edge” will have its world premiere June 10 and June 15 at the 16th annual San Francisco Documentary Film Festival.

About the filmmakers
Jeremy Williams (Director) is a BAFTA Award-winning director who has worked in television for twenty years and made more than 40 documentary films as a producer and director. He is currently a lecturer in Film and Television practice at the University of Falmouth in the UK in their Department of Film and Television. Jeremy has been a long‐time collaborator with October Films, producing a number of television documentaries and two feature-length docs: London and Ghosts of the 7th Cavalry, the latter nominated for a One World Media Award for Best Documentary in 2008. Recently he produced and directed Restless Flights, which profiled Nobel Literature Prize winner JMG Le Clezio, and Orphans of Burma’s Cyclone, for Channel 4 in the UK which was shown in WNET’s Wide Angle series as Eyes of the Storm. Orphans recently won the Rory Peck Award in London as well as the Childrens’ Rights Award at the 2010 One World Media Awards. Jeremy made Jack with Normal Life Pictures, a short film about a Lakota Vietnam veteran, which won first prize at the National Museum of the American Indian’s Veteran’s Day Film Contest in 2010.

Eli Cane (Producer) runs Normal Life Pictures, a New York-based production company. Most recently, he produced the ground-breaking videos for Solange’s Grammy-winning song “Cranes in the Sky” and “Don’t Touch My Hair.” He was producer and music supervisor for The Market Maker, which aired nationally on PBS as a Wide Angle in 2009 and was selected for the Good Pitch at Silverdocs. He also produced a feature-length documentary for the Why Poverty? series entitled Land Rush, about agricultural land grabs in Mali and the future of food sovereignty. The film was featured at the Good Pitch London in 2011 and at IDFA in 2012, and has been screened in both the UK Parliament and the US Capital Building. In addition, the film became a center-piece of Oxfam’s “Behind the Brands” campaign, and aired in dozens of cities around the US in honor of World Food Day in 2013. The film was instrumental in achieving the campaign’s primary goal of convincing PepsiCo, Coca-Cola, Unilever, Nestlé, and Illovo to adopt a zero-tolerance policy towards land grabs. The Why Poverty? series was a co-production between ITVS and the BBC and over a dozen other broadcasters, and when it aired in December 2012 it was seen by over 800 million viewers worldwide. The films in the Why Poverty? series won a Peabody Award for Excellence in Journalism in 2013.

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2017-04-26 16:32:09 ccwire-staff

A film by Stéphane Brizé
Based on the novel Une Vie by Guy de Maupassant

Starring: Judith Chemla, Jean-Pierre Darroussin, Yolande Moreau, and Swann Arlaud

Adapted from the novel Une Vie by Guy de Maupassant, A WOMAN’S LIFE is a tale of tormented love embedded in the restrictive social and moral codes of marriage and family in 19th century Normandy. Upon finishing her schooling in a convent, young aristocrat Jeanne (Judith Chemla) marries local Viscount Julien de Lamare (Swann Arlaud), who soon reveals himself to be a miserly and unfaithful husband. As she navigates his chronic infidelity, pressure from her family and community, and the alternating joys and burdens of motherhood, Jeanne’s rosy illusions about her privileged world are slowly stripped away. French filmmaker Stéphane Brizé shoots this follow-up to his Cannes and César Award-winner The Measure of a Man in constricted 4:3 Academy ratio, creating a tightly composed work that perfectly translates de Maupassant’s portrayal of life’s indifferences.

RT: 119min / Not Yet Rated
LANGUAGE: French, Subtitles in English

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Technicolor PostWorks Supports 13 Tribeca World Premieres

2017-04-11 12:47:08 artisanspr

NEW YORK—Continuing its long support for filmmaking in New York, Technicolor PostWorks provided post-production services to 13 films screening at this year’s Tribeca Film Festival, including three films in the U.S. Narrative competition, two in the Spotlight Narrative section, one in the World Documentary competition, four in the Spotlight Documentary section and one in the Shorts sections. Additionally, the facility supported three projects produced for television screening in the second annual Tribeca TV festival. Services included editorial conforming and color grading. PostWorks provided ADR, sound editorial and sound mixing.

The 16th annual Tribeca Film Festival runs April 19-30, 2017.

Technicolor PostWorks projects include:



Aardvark, (USA, World Premiere), Director Brian Shoaf’s story of a therapist whose professional and personal worlds collide when a new patient walks through her door.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Alex Bickel, Colorist; Sean R. Smith, Online Editor. PostWorks provided ADR; Chris White ADR Recordist.

Abundant Acreage Available, (USA, World Premiere), Director Angus MacLachlan’s tale of siblings Jesse (Terry Kinney) and Tracy (Amy Ryan) who attempt to settle into their new lives after their father’s death.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Alex Bickel, Colorist; Sean R. Smith, Online Editor.

Saturday Church, (USA, World Premiere), Director Damon Cardasis’ drama of a shy and effeminate teen being raised in the Bronx by his strict Aunt Rose.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Anthony Raffaele, Colorist; Ryan Duffy, Color Assist; Ryan Rolandelli, Online Editor.



Dabka, (USA, World Premiere), Director Bryan Buckley’s story of rookie journalist Jay Bahadur (Evan Peters), who, after a chance encounter with his idol (Al Pacino), moves to Somalia looking for the story of a lifetime.

PostWorks provided re-recording mixing; Martin Czembor, Re-Recording Mixer; Ruy Garcia, Supervising Sound Editor.

Permission, (USA, World Premiere), Director Brian Crano’s film focusing on a couple who embark on an experiment to broaden their horizons without sabotaging their relationship.

PostWorks provided ADR; Chris White, ADR Recordist.



The Death and Life of Marsha P. Johnson, (USA, World Premiere), Academy Award-nominated Director David France investigates the death of the black transgender activist Marsha P. Johnson.

PostWorks provided re-recording mixing; Martin Czembor, Re-Recording Mixer; Luciano Vignola, Sound Supervisor.



Get Me Roger Stone, (USA, World Premiere), Directors Dylan Bank, Daniel DiMauro and Morgan Pehme explore the world of political firebrand and noted eccentric Roger Stone.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Allie Ames, Colorist; Jeff Cornell and Ryan McMahon, Online Editors. PostWorks provided sound editorial and re-recording mixing; Christopher Koch, Re-Recording Mixer; Eric DiStefano, Sound Editor. 

I Am Evidence, (USA, World Premiere), Directors Trish Adlesic and Geeta Gandbhir examine the issue of untested rape kits with hundreds of thousands left in police storage facilities.

Technicolor PostWorks provided color grading and deliverables; David J. Colonna, Colorist.

No Stone Unturned, (USA and Northern Ireland, World Premiere), Director Alex Gibney probes the 1994 murder of six men while watching a World Cup soccer match in a pub in Loughinisland, Northern Ireland.

Technicolor PostWorks provided additional color; Jack Lewars, Additional Colorist.

WASTED! The Story of Food Waste, (USA, World Premiere), Directors Anna Chai and Nari Kye show how $218 billion in food is thrown out each year, while nearly a billion people worldwide face starvation.

Technicolor PostWorks provided editorial conforming, color grading (four-wall) and deliverables; Stephen Beganyi, Colorist; Ryan Rolandelli, Online Editor.



Lemon, (USA, World Premiere), Director Timothy Michael Cooper’s tale of a bride who is stunned to learn that her new husband fudged nearly everything about his past, his family, and his accomplishments.

Technicolor PostWorks provided editorial conforming and color grading; Sean R. Smith, Colorist/Online Editor.



Bombshell: The Hedy Lamarr Story, (USA, World Premiere), Director Alexandra Dean tells the story of an actress known for her unmatched beauty, who also possessed a beautiful mind.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Allie Ames, Colorist; Ryan McMahon, Online Editor. PostWorks provided sound editorial and re-recording mixing; Eric DiStefano and Filipe Messeder, Sound Editors; Eliott Taylor, Re-Recording Mixer.

The Last Poker Game, (USA, World Premiere), Director Howard Weiner’s story of Dr. Abe Mandelbaum (Martin Landau), who moves into a nursing home with his wife and forms an improbable relationship with a gambler and womanizer.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Anthony Raffaele, Colorist; Zac Gobetz and Ryan McMahon, Online Editors. PostWorks provided re-recording mixing; Michael Kurihara, Re-recording Mixer; Marlena Grzaslewicz, Sound Supervisor.



The Sinner, the World Premiere of the new USA series.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Sam Daley, Colorist; George Bunce, Online Editor.

Unbreakable Kimmy Schmidt, the World Premiere of Season 3 of the hit Netflix series.

Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables. Adam Moore, Dailies Colorist; Roger Doran, Colorist; Pat Kelleher, Online Editor.

The Vietnam War, (PBS, Special Sneak Peek), Ken Burns’ new documentary on the conflict in Southeast Asia.

Technicolor PostWorks provided editorial conforming, color grading; Jack Lewars, Colorist; Jeff Cornell, Online Editor. PostWorks provided sound editorial and re-recording mixing (International Version); Michael Kurihara, Sound Editor/Re-recording Mixer.

About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit

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2017-03-09 15:18:58 ccwire-staff

An official selection at the Cannes Film Festival, writer/director Michael O’Shea’s debut feature The Transfiguration follows troubled teen Milo who hides behind his fascination with vampire lore. When he meets the equally alienated Sophie, the two form a bond that begins to challenge Milo’s dark obsession, blurring his fantasy into reality. A chilling portrait of violence, The Transfiguration is an atmospheric thriller set against the grit of New York City.

Written and Directed by: Michael O’Shea

Starring: Eric Ruffin and Chloe Levine

Official Selection: Cannes Film Festival 2016, SXSW 2017

Opens in New York on Friday, April 7th at the Angelika Film Center

Opens in Los Angeles on Friday, April 21st at The Nuart Theatre

March 10th, Alamo Lamar A, 9:30pm
March 13th, Alamo Ritz 1, 9:45pm
March 17th, Alamo Ritz 2, 2:15pm

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Technicolor PostWorks’ Sam Daley Replicates Black & White Look for Horror Tale “The Eyes of My Mother”

2017-02-27 11:56:22 artisanspr

NEW YORK— Writer-Director Nicolas Pesce’s debut feature, The Eyes of My Mother, which was finished  at Technicolor PostWorks New York, is a beautifully calibrated horror story of a young woman scarred by childhood tragedy. The film is packed with heart-pounding moments, made all the more chilling by an artfully crafted black & white look captured by Cinematographer Zach Kuperstein (also making his feature debut) and finished by Colorist Sam Daley.

The film is set on a secluded farmhouse where a young girl, Francisca, lives with her Portuguese parents. The girl’s idyllic life is shattered with the arrival of a mysterious visitor who commits an act of terrible violence before her eyes. The consequences of that trauma come to fruition decades later after the girl reaches adulthood.


The film was digitally captured by Kuperstein in color and converted to black & white during post-production processing at Technicolor PostWorks. Kuperstein notes that planning for that conversion began early on and involved nearly every aspect of production. “A lot of our work with production designer, Sam Hensen, and costume designer, Whitney Adams, was focused on creating color contrast in the design elements so they could be easily separated when we got to the DI,” he recalls. “We captured all of the color information on set, viewing the image with a simple black and white LUT, with the intention of grabbing those distinct colors and adjusting their brightness values in post.”

Working under the direction of Pesce and Kuperstein, Daley used Da Vinci Resolve to draw down the color and recreate the classic look of a black & white print. “In my early days as a telecine colorist, I worked a lot with black & white negative and it was a thrill to dive back into that world,” Daley recalls. “It’s not as simple as desaturating the images. Getting the true qualities of vintage black & white requires precise manipulation of tonality within the frame before the color is removed.”

In fact, Daley made a first pass through the film in color, using digital tools to simulate the way black & white negative reacts to light. “I spent a lot of time isolating and brightening faces so that, when they were desaturated, they would appear more like they would if exposed on black & white film. There was a lot of dodging and burning, brightening and darkening of small areas to make the images feel more dynamic.”

“Sam was able to isolate the unusually saturated colors, such as a bright orange couch or the green line’s in Francisca’s dress, and make them stand apart,” adds Kuperstein.  “This added a kind of texture and contrast that would not have otherwise been possible.  The approach is akin to using a yellow filter on B&W negative to darken a sky.”

Daley made other adjustments to the look to add to the growing sense of horror. Many of the most shocking events in the film appear on the periphery of the frame. Subtly adjusting light and shadow, Daley helped to draw attention to such creepy details while keeping them barely visible.

“We create a sense of mystery by the way the image rolls off into the blacks,” he explains. “There are a lot of scary things in the film and you see just enough of them. We walked a fine line, where the audience sees the horror, without making it the central focus.”

Distributed theatrically in the U.S. by Magnet Releasing, The Eyes of My Mother has earned critical raves on the festival circuit. Kuperstein, who was earlier nominated for Best Cinematography Debut at Cameraimage, is currently nominated for Best Cinematography at the Independent Spirit Awards. Daley says the movie’s success is well deserved. “It’s a very well-crafted film; the cinematography is spot on,” he observes. “It’s flawless.”

About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit

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Acclaimed Director Susan Froemke Releases Trailer and Website for new film The Resilient Heart

2017-01-27 15:41:02 ccwire-staff

New York, NY  – Oscar nominee and Grammy winning director, Susan Froemke, has unveiled an advance trailer and website for her latest film, The Resilient Heart, which is now in post-production. The upcoming documentary feature film was announced in Park City, UT following the 2017 Sundance Film Festival premiere of her documentary Rancher, Farmer, Fisherman, an Official Selection of the 2017 Sundance Film Festival, already generating a lot of buzz.

“When I first met Dr. Valentin Fuster, I thought cardiovascular disease was a rich nation’s illness, but I soon found out it was the leading cause of death across the globe,” said Froemke. “Dr. Fuster’s mission to stem the tide of this debilitating epidemic inspired me to make The Resilient Heartwith the hope to bring his important story to a wide audience.”

The film website offers some general background information about the film, full color photographs from the making of the documentary and the theatrical trailer.

The film, made with generous support from Mt. Sinai Health System, centers on the work of Dr. Valentin Fuster, a world-renowned cardiovascular scientist and Physician-in-Chief at The Mount Sinai Hospital. Through his research and travels, Dr. Fuster discovers that the real answer to fighting chronic disease lies in early education. The Resilient Heart follows Dr. Fuster as he travels to Eldoret (Kenya), Bogota, Grenada, Madrid and Harlem, where he encounters the profound impacts of coordinated global health initiatives, proactive public policy, and the passion of people to better the health and well-being of populations, no matter the circumstances.

The film was directed by Oscar nominee and Grammy winner Susan Froemke, a non-fiction filmmaker with over 30 documentaries to her credit, including the iconic Grey Gardens (1976), the Academy Award nominated Lalee’s Kin (2001), Conversations With The Rolling Stones (1994), and Escape Fire: The Fight To Rescue American Healthcare which premiered at Sundance in 2013.

The Resilient Heart will premiere Spring 2017.

Dr. Valentin Fuster, MD, PHD

For four decades, Dr. Fuster has been a global leader in the field of cardiology, including cardiovascular medicine, translational research, and education. He has a keen interest in defeating the global epidemic of obesity and its impact on cardiovascular health, especially for the world’s tiniest hearts — those in our children. Dr. Fuster has published more than 1,000 research studies on the prevention and treatment of heart disease, coronary artery disease, atherosclerosis, and thrombosis, and is Director of Mount Sinai Heart and Physician-in-Chief of The Mount Sinai Hospital.

About Mount Sinai

The Mount Sinai Health System is an integrated health system committed to providing distinguished care, conducting transformative research, and advancing biomedical education. Structured around seven hospital campuses and a single medical school, the Health System has an extensive ambulatory network and a range of inpatient and outpatient services—from community-based facilities to tertiary and quaternary care.

About Mount Sinai Heart

Mount Sinai Heart is one of the world’s leading centers for cardiovascular medicine and advanced diagnostic and therapeutic technologies, successfully treating cardiac conditions from chronic arrhythmias to sudden heart attacks.

The center’s mission is to dramatically improve the heart health of patients from the local, regional, and global communities. The steadfast commitment of Mount Sinai Heart to its patients is dramatically changing lives, and its collaborative, comprehensive approach to health care is revolutionizing the practice of medicine around the world.

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Noir City Returns to Seattle

2017-01-18 16:03:28 ccwire-staff

SEATTLE – The 2017 incarnation of the world’s most popular film noir festival, Noir City, is returning to the legendary Egyptian theater February 16 through 22, with 20 exceptional films ranging from the mid-twentieth century to today and culled from all parts of the globe. “The Big Knockover” is a veritable history of the heist film, from black-and-white Hollywood classics such as Criss Cross (1949) and The Asphalt Jungle (1950), to stunning contemporary thrillers like The Aura (2005) and Victoria (2015). Noir City’s lineup explores, in films both suspenseful and comedic, the desperate lengths to which people will go to beat the system and hit the big time.

Films in the Festival come from the United States, England, Japan, France, Argentina, and Germany and span eight decades of filmmaking. Festival producer, programmer and all around Czar of Noir Eddie Muller clarifies that despite the change of pace, “This doesn’t mean we’ve run out of films from the original noir movement. That remains our primary focus, and it is films of that period the Film Noir Foundation is dedicated to rescuing and restoring. But this particular theme—heist films—is much richer when the parameters are expanded to include films from different countries and eras. By making that leap, a more intriguing experience emerges for those loyal patrons who join us for the full ride.” Eddie will be maestro for the week-long Festival to delight patrons with intrigue and sordid anecdotes from Hollywood.

“We are excited for this year’s Noir City to return after a fantastic run at the Egyptian last summer,” says SIFF Interim Artistic Director, Beth Barrett, “Audiences in Seattle can’t get enough of dark and thrilling cinema and there’s no better or more atmospheric movie palace to host Noir City in than the Egyptian.”

Opening Night the Egyptian will be transformed into a haven for gangsters, molls, vixens, and villains, with Noir-themed wine and a shadowy cityscape photo booth to capture patrons at their fiendish best. The Opening Night film sets the stage for the Festival with the gold standard of heist noir, The Asphalt Jungle (1950), presented in 35mm. John Huston’s classic proves that while there’s no perfect crime there is a perfect ensemble cast, including Sterling Hayden, Jean Hagen, Louis Calhern, and Marilyn Monroe in her screen debut.

Join us on this journey around the globe showcasing how the “heist” was the perfect compliment to Noir with style, sexiness, and cynicism that crossed all international borders.

Passes for NOIR CITY 2017 are on sale at HERE. Full schedule and individual tickets are available now.

Thursday, February 16 – Wednesday, February 22
SIFF Cinema Egyptian
Festival Passes: $150 | $100 Members
Single film admission: $15 | $10 Members | $14 Seniors and Youth
SIFF Cinema Vouchers accepted at the rate of two for each single admission.


Thursday, February 16

The Asphalt Jungle
A major heist goes off as planned, until bad luck and double crosses cause everything to unravel. (d: John Huston c: Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, Marilyn Monroe, USA 1950, 112 min)

Criss Cross
An armored truck driver and his lovely ex-wife conspire with a gang to have his own truck robbed on the route. (d: Robert Siodmak c: Burt Lancaster, Yvonne De Carlo, Dan Duryea, Stephen McNally, USA 1949, 89 min)

Friday, February 17

Kansas City Confidential
An ex-con trying to go straight is framed for a million dollar armored car robbery and must go to Mexico in order to unmask the real culprits. (d: Phil Karlson c: John Payne, Coleen Gray, Preston Foster, Neville Brand, Lee Van Cleef, Jack Elam, Dona Drake, USA 1952, 99 min)

Violent Saturday
Three men case a small town very carefully, with plans to rob the bank on the upcoming Saturday, which turns violent and deadly. (d: Richard Fleischer c: Victor Mature, Richard Egan, Lee Marvin, Stephen McNally, Sylvia Sidney, USA 1955, 90 min)

Saturday, February 18

The Ladykillers
Five diverse oddball-criminal-types planning a bank robbery, rent rooms on a cul-de-sac from an octogenarian widow under the pretext that they are classical musicians. (d: Alexander Mackendrick c: Katie Johnson, Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, Danny Green, Jack Warner, USA 1955, 91 min)

The League of Gentlemen
A disgruntled veteran recruits a group of disgraced colleagues to perform a bank robbery with military precision. (d: Basil Dearden c: John Hawkins, Nigel Patrick, Roger Livesey, Bryan Forbes, Richard Attenborough, USA 1960, 116 min)

The Killing
A gang of greedy petty criminals plan a race track robbery. The plan gets foiled and disaster ensues. (d: Stanley Kubrick c: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Elisha Cook, USA 1956, 85 min)

Cruel Gun Story
A convict fresh out of prison, with a handicapped sister, is coerced by a wealthy mob boss into organizing an armored racetrack car heist. (d: Takumi Furukawa c: Jô Shishido , Chieko Matsubara, Tamio Kawaji, Yûji Odaka, Minako Kazuki, Japan 1964, 87 min)

Sunday, February 19

The Brink’s Job
Crime story based on the real armed robbery of the Brink’s Building in Boston, Massachusetts, on January 17th, 1950. (d: William Friedkin c: Peter Falk, Peter Boyle, Allen Garfield, Warren Oates, Gena Rowlands, Paul Sorvino, USA 1978, 104 min)

The Sicilian Clan
A young, ambitious mobster plans an elaborate diamond heist while seducing the daughter of a ruthless mob patriarch as a determined police commissioner closes in on all of them. (d: Henri Verneuil c: Jean Gabin, Alain Delon, Lino Ventura, Irina Demick, Sydney Chaplin, France/USA 1969, 122 min)

The Taking of Pelham One Two Three
In New York, armed men hijack a subway car and demand a ransom for the passengers. Even if it’s paid, how could they get away? (d: Joseph Sargent c: Waltar Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, USA 1974, 104 min)

Charley Varrick
A man, his wife, and their friend, stage a bloody bank robbery, unaware they are stealing money from the Mob. (d: Don Siegel c: Walter Matthau, Andrew Robinson, Joe Don Baker, John Vernon, Felicia Farr, USA 1973, 111 min)

Monday, February 20

Transplanted American director Dassin executes the most suspenseful robbery sequence of all time in this legendary crime classic. Jean Servais leads the gang. (d: Jules Dassin c: Jean Servais, Carl Möhner, Robert Manuel, Janine Darcey, Pierre Grasset, France 1955, 122 min)

Classe Tous Risques
As the police close in, a wanted Frenchman assesses his relationship with his estranged family and his former friends. (d: Claude Sautet c: Lino Ventura, Sandra Milo, Jean-Paul Belmondo, France 1960, 110 min)

Blue Collar
Three workers, Zeke, Jerry, and Smokey, are working at a car plant and drinking their beers together. One night when they steal away from their wives to have some fun they get the idea to rob the local union’s bureau safe. (d: Paul Schrader c: Richard Pryor, Harvey Keitel, Yaphet Kotto, Ed Begley Jr., Harry Bellaver, USA 1978, 114 min)

Straight Time
After being released on parole, a burglar attempts to go by society’s rules. He soon finds himself back in jail at the hands of a power-hungry parole officer. When he is released again, he assaults the parole officer, steals his car, and returns to a life of crime. (d: Ulu Grosbard c: Dustin Hoffman, Harry Dean Stanton, Gary Busey, Theresa Russell, M. Emmet Walsh, Kathy Bates, USA 1978, 114 min)

Tuesday, February 21

Film pending

The Aura
A deluded taxidermist plans the perfect crime. (d: Fabián Bielinsky c: Ricardo Darin, Dolores Fonzi, Alejandro Awada, Pablo Cedron, Argentina/Spain/France 2005, 134 min)

Wednesday, February 22

Cash on Demand
A charming but ruthless criminal holds the family of a bank manager hostage as part of a cold-blooded plan to steal 97,000 pounds. (d: Quentin Lawrence c: Peter Cushing, André Morell, Richard Vernon, Norman Bird, United Kingdom 1961, 84 min)

A young Spanish woman who has newly moved to Berlin finds her flirtation with a local guy turn potentially deadly as their night out with his friends reveals a dangerous secret. (d: Sebastian Schipper c: Laia Costa, Frederick Lau, Franz Rogowski, Burak Yigit, Max Mauff, Andre M. Hennicke, Germany 2015, 140 min)

About the Film Noir Foundation
The Film Noir Foundation is a non-profit public benefit corporation created as an educational resource regarding the cultural, historical, and artistic significance of film noir as an original American cinematic movement.

As a focal point of the classic film noir revival, the Foundation serves as a conduit between film companies and repertory cinemas still eager to screen these films in 35mm. Revenues generated by ticket sales encourage studios film archives to strike new prints of films that are at risk of disappearing from public view, either through neglect or scarcity. Once these films are unearthed and returned to circulation, the chances exponentially increase that they will be reissued on DVD, available in pristine, affordable form for future generations of film-lovers.

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Technicolor PostWorks Prepares 10 Films for Sundance

2017-01-09 17:03:48 artisanspr

NEW YORK— Continuing its long-standing support for independent film, Technicolor PostWorks New York helped to prepare a combined 10 features and documentaries for screening at this year’s Sundance Film Festival. The facility provided services including editorial conforming, color grading, deliverables and sound mixing for films premiering in the U.S. Narrative and Documentary competitions and other programs. The Sundance Film Festival is scheduled for January 19–29 in Park City, Utah.

Sundance films serviced by Technicolor PostWorks include:

Band Aid, U.S. Narrative Competition, Director and Screenwriter Zoe Lister-Jones’ story of a couple who can’t stop fighting and embark on a last-ditch effort to save their marriage.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Allie Ames, colorist/online editor.

Before I Fall, Premieres, Director Ry Russo-Young’s story of a woman who has everything until she wakes up one fateful night with no future at all.

Technicolor PostWorks provided editorial conforming, color grading, visual effects and deliverables; Alex Bickel, colorist; Ryan McMahon, online editor; Sean Perry, Keith Jenson and Brian Keefe, VFX artists.

“Band Aid”, “Before I Fall”

The Big Sick, Premieres, Director Michael Showalter’s dramatization of the real-life courtship of Pakistan-born comedian Kumail Nanjiani and a grad student.

Technicolor PostWorks provided dailies, editorial conforming, color grading and deliverables; Alex Bickel, colorist; Josh Olive, dailies colorist; Sean R. Smith, online editor.

Crown Heights, U.S. Narrative Competition, Director and Screenwriter Matt Ruskin’s crime drama of a man wrongfully convicted of murder and his best friend who devotes his life to proving his innocence.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Jack Lewars, colorist; Jeff Cornell, online editor.

“The Big Sick”, “Crown Heights”

The Discovery, Premieres, Director Charlie McDowell’s futuristic love story of a world where the afterlife has just been scientifically proven—resulting in millions of people taking their own lives to get there.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Alex Bickel, colorist; Pat Kelleher and Sean Perry, online editors.

Long Strange Trip, Documentary Premieres, Director Amir Bar-Lev’s tale of The Grateful Dead, a tribe of contrarians who made art out of open-ended chaos and inadvertently achieved success on their own terms.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Jack Lewars, colorist; Keith Jenson, online editor.

“The Discovery”, “Long, Strange Trip”

Novitiate, U.S. Narrative Competition, Director and Screenwriter Maggie Betts’s drama set in the 1960s, during the Vatican II era, about a young woman training to become a nun who struggles with issues of faith, sexuality and the changing church.

Technicolor PostWorks provided sound mixing services; Martin Czembor, Re-Recording Mixer.

Strong Island, U.S. Documentary Competition, Director Yance Ford’s thoughtful examination of the violent death of his brother and the judicial system that allowed his killer to go free.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Anthony Raffaele, colorist; Sean Perry, online editor.

“Novitiate”, “Strong Island”

Water & Power: A California Heist, U.S. Documentary Competition, Director Marina Zenovich’s examination of California’s convoluted water system and its impact on small farmers and everyday citizens.

Technicolor PostWorks provided editorial conforming, color grading and deliverables; Jack Lewars, colorist; Keith Jenson, online editor.

The Yellow Birds, U.S. Narrative Competition, Director Alexandre Moors’ film focusing on two young men who enlist in the army and are deployed to fight in the Gulf War.

Technicolor PostWorks provided editorial conforming and deliverables; Allie Ames and Ryan McMahon, online editors.

“Water & Power: A California Heist”, “The Yellow Birds”

About Technicolor PostWorks New York

Technicolor PostWorks New York is the East Coast’s most comprehensive digital motion picture and post-production facility, employing an exceptional team of creative artists, engineers and project managers to serve our clients through the film and TV finishing process.

Technicolor PostWorks New York offers one complete source for every post requirement, including in-context digital dailies, film imaging and restoration, collaborative non-linear editorial and HD/UHD broadcast finishing, 4K digital cinema, global content lifecycle support, and comprehensive film and TV sound services on nine mix stages.

For more information, visit

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