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May 4, 2020

How Stories Of Underrepresented Voices Drive Social Impact?

Source: Visual Storytelling

May 4, 2020

What A Difference A Year Makes

Source: Visual Storytelling

May 3, 2020

How ‘Spider-Man’ Forever Redefined the Summer Movie For Hollywood

This weekend, Sony inadvertently celebrated the 18th anniversary of “Spider-Man” when it became known that its Marvel-hero blockbusters share a common tag: the Sony Pictures Universe of Marvel Characters. That mouthful of appellation (SPUMC?) inspired derisive blowback, but critics should also give credit where it’s due: After “Spider-Man” opened in 2002, Hollywood has never been the same. The origin myth of Peter Parker went on to create an origin myth of its own: Not only was it the first indication that the Marvel Comics movie universe would become a juggernaut, but it also enshrined the first weekend of May as the real opening of the summer movie season.

“Spider-Man” remains the fifth-biggest Marvel hit, behind the three “Avengers” titles and “Black Panther.” (All figures and comparisons are adjusted to 2020 ticket-price equivalents.) To this day, “Spider-Man” remains the biggest Marvel title not released by Disney.

To be very clear: “Spider-Man” was not the start of the MCU. Credit for that, of course, goes to “Iron Man,” which came six years after “Spider-Man,” in 2008. Nor was it the first Marvel revival from that period; other Marvel characters to see feature adaptations included New Line Cinema’s “Blade” franchise starring Wesley Snipes, which launched in 1998, and first “X-Men” in 2000 from 20th Century Fox.

However, “Spider-Man” was the first to provide a rough template of the Marvel movies as we know them today. The action-oriented “Blade” films were R-rated. “X-Men” was PG-13, but veered toward intricate plotting and the darker world of mutants. “Spider-Man” captured the spirit of the Richard Donner “Superman” movies, emphasizing the human side of their characters while adding humor and romance, all in the context of action and FX.

As a character, “Spider-Man” had much stronger name recognition; as a film, the budget dwarfed all of its superhero predecessors, including D.C.’s “Superman” and “Batman” films. Tim Burton’s 1989 “Batman” cost just $35 million ($73 million adjusted), and grossed an adjusted $576 million worldwide. By contrast, “Spider-Man” had an adjusted budget that passed $200 million. At the time it one of the most expensive titles ever made, and a major risk — particularly as the initial film for a franchise.

And, like any massively expensive production, “Spider-Man” would be expected to claim a summer release date. Since “Jaws” in 1975, that time is the go-to release period for the biggest films. That meant early June, or later, when nearly all schools were closed. By the early 1990s, “summer movies” like “Mission: Impossible” and “Lost World: Jurassic Park” had the courage to move to Memorial Day; sometimes — as with “The Phantom Menace,” which opened May 19, 1999 — just before. But early May? Not prime time remotely.

“Spider-Man” wasn’t the first to test the first weekend of May. Universal did that with “The Mummy” in 1999 and its 2001 sequel, and Dreamworks hit the jackpot with “The Gladiator” in 2000. Those were major films, and successes. But for a studio to set its biggest film of the year, indeed one of its biggest risks ever, for that early date was dicey at best. However, Sony felt that it needed to get the jump on what was expected to be the year’s biggest film: 20th Century Fox’s “Attack of the Clones,” the second entry in the second triptych of “Star Wars” films, which would open May 16.

Sony needn’t have worried. Adjusted, “Spider-Man” grossed $646 million worldwide. “Attack of the Clones” grossed an adjusted $489 million worldwide.

Editorial use only. No book cover usage.Mandatory Credit: Photo by Lucasfilm/Fox/Kobal/REX/Shutterstock (5886234am)Hayden Christensen, Natalie Portman, Ewan McGregorStar Wars Episode II - Attack Of The Clones - 2002Director: George LucasLucasfilm/20th Century FoxUSAScene StillScifiEpisode II / 2Star wars: Episode II - L'attaque des clones

Hayden Christensen, Natalie Portman, Ewan McGregor in “Star Wars Episode II – Attack Of The Clones”


In subsequent years, “X-Men” and “Mission: Impossible” sequels also chose to open on the first weekend of May. Paramount released the first “Iron Man” on the same date in 2008, and after that a Marvel title held the date every year until 2017. That’s when Disney figured they could go a week earlier with two “Avengers” sequels.

When Disney took over the “Star Wars” franchise 13 years later with “The Force Awakens,” anticipation and a deep fan base propelled it to grosses unseen since “Titanic.” But since 2015, Marvel has reigned. The results in 2002 now looks like it anticipated the future competition between the franchises.

May 3-5, 2020

1. Spider-Man (Sony) NEW – Cinemascore: A-; Metacritic: 73; Est. budget: $139 million/$220 million

$114.8 million/$181.3 million in 3,615 theaters; PTA: $31,769/$50,195; Cumulative gross: $114.8 million/$181.3 million

2. The Scorpion King (Universal) Week 3; Last weekend #1

$9.0 million/$14.2 million (-50%) in 3,466 theaters (+17); PTA: $2,610/$4,124; Cumulative gross: $74.3 million/$117.4 million

3. Changing Lanes (Paramount) Week 4; Last weekend #2

$5.3 million/$8.4 million (-41%) in 2,642 theaters (no change); PTA: $2,021/$3,194; Cumulative gross: $52.1 million/$82.3 million

4. Murder by Numbers (Warner Bros.) Week 3; Last weekend #4

$3.6 million/$5.7 million (-43%) in 2,565 theaters (-98); PTA: $1,413/$2,232; Cumulative gross: $23.9 million/$37.8 million

5. Life, or Something Like It (20th Century Fox) Week 2; Last weekend #5

$3.2 million/$5.1 million (-49%) in 2,607 theaters (+3); PTA: $1,221/$1,929; Cumulative gross: $10.9 million/$17.2 million

6. The Rookie (Disney) Week 6; Last weekend #6

$3.1 million/$5.1 million (-44%) in 2,351 theaters (-192); PTA: $1,327/$2,144; Cumulative gross: $64.9 million/$102.5 million

7. Deuces Wild (MGM) NEW – Cinemascore: C; Metacritic: 16; Est. budget: $10 million/$15.8 million

$2.7 million/$4.3 million in 1,480 theaters; PTA: $1,827/$2,886; Cumulative gross: $2.7 million/$4.3 million

8. Ice Age (20th Century Fox) Week 8; Last weekend #7

$2.4 million/$3.8 million (-53%) in 2,137 theaters (-457); PTA: $1,109/$1,752; Cumulative gross: $169.0 million/$267.0 million

9. Jason X (New Line) Week 2; Last weekend #3

$2.3 million/$3.6 million (-65%) in 1,879 theaters (+1); PTA: $1,226/$1,937; Cumulative gross: $10.3 million/$16.3 million

10. Panic Room (Sony) Week 6; Last weekend #8

$2.1 million/$3.3 million (-50%) in 1,827 theaters (-636); PTA: $1,143/$1,806; Cumulative gross: $91.0 million/$143.8 million

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Source: IndieWire film

May 3, 2020

Apichatpong Weerasethakul on Moviegoing After Quarantine, When Slow Cinema Could Reign

Director Apichatpong Weerasethakul has, unsurprisingly, turned contemplative in quarantine, during which he’s been sheltered in Thailand, as IndieWire learned last month when the Thai filmmaker shared a thoughtful letter. The “Uncle Boonmee Who Can Recall His Past Lives” and “Tropical Malady” director has another message for moviegoers, as revealed in a recent letter shared on Filmkrant. His utopian hope for the future of moviegoing is that the temporary pause put on the fast pace of life as it was before the coronavirus will inspire slower, more patient, and a more “stop and smell the roses” kind of film-watching. That’s exemplified, as he illustrates, in the films of Béla Tarr, Tsai Ming-Liang, Lucrecia Martel, Pedro Costa, and, of course, his own movies. Check out an excerpt from the letter below:

To keep our sanity, some of us have embraced mindfulness techniques. We try to observe our surroundings, emotions, actions, time, impermanence. When the future is uncertain, the now becomes valuable.

This morning, after breakfast (a plate of fruits, weet-bix cereal, and two boiled eggs), I imagined a scenario. Perhaps this current situation will breed a group of people who have developed an ability to stay in the present moment longer than others. They can stare at certain things for a long time. They thrive in total awareness.

After we have defeated the virus, when the cinema industry has woken up from its stupor, this new group, as moviegoers, wouldn’t want to take the same old cinema journey. They have mastered the art of looking; at the neighbors, at the rooftops, at the computer screens. They have trained through countless video calls with friends, through group dinners captured in one continuous camera angle. They need a cinema that is closer to real life, in real time. They want the cinema of Now which possesses no fillers nor destination.

Then they will be introduced to the films of Béla Tarr, Tsai Ming-Liang, Lucrecia Martel, maybe Apichatpong and Pedro Costa, among others. For a period of time, these obscure filmmakers would become millionaires from a surge of ticket sales. They would acquire new sunglasses and troops of security guards. They would buy mansions and cars and cigarette factories and stop making films. But soon the audience would accuse this slow cinema of being too fast. Protest signs would appear, reading: “We demand zero plots, no camera movement, no cuts, no music, nothing.”

A Covid-19 Cinema Manifesto (CCM) would be drawn up for cinema to liberate itself from its structure and its own journey. “Our cinema has no place for psychological gratifications. The perpetual destination is the audience, the enlightened.”

Weerasethakul imagines this culminating in a “Nothing Film Festival,” where “the ‘easily distracted’, the ‘attached’ individuals have become a minority. In public spaces, to avoid the stare, they pretend to be serene. They breathe and chew food slowly. They rarely display anger. Then they return home to scream, sleep and scream some more in their dreams.”

Read the full letter from Weerasethakul here. Weerasethakul’s next project, his English-language debut “Memoria,” produced in Colombia and starring Tilda Swinton, is currently undated for release.

Source: IndieWire film

May 2, 2020

Scarlett Johansson, Florence Pugh, Margot Robbie, and More Face off in Epic Virtual Fight — Watch

Quarantine has brought out some wild celebrity personalities on social media, from Stephen Sondheim’s big birthday bash last weekend to January Jones’ hilarious slow-motion breakdown on Instagram, and, of course, the “Imagine” compilation that will live in infamy. The latest viral sensation to hit the internet is the “Boss Bitch Fight Challenge,” an epic supercut of your favorite Hollywood leading ladies kicking each other’s asses and taking a bite out of lockdown in a cleverly edited montage of self-made stunts.

Led by Quentin Tarantino’s righthand stunt master Zoë Bell, the video, which is linked below, features Scarlett Johansson, Florence Pugh, Margot Robbie, Drew Barrymore, Rosie Perez, Juliette Lewis, Cameron Diaz, Rosario Dawson, Lucy Lawless, Halle Berry, Zoe Saldana, Thandie Newton, and so many more facing off across a crazy and tightly edited fight sequence. Even 11-year-old Julia Butters of “Once Upon a Time in Hollywood” fame makes a cameo appearance, as does Daryl Hannah, reprising her iconic role from “Kill Bill.” The video is an homage to the quarantine montage from last month featuring stuntmen teaming up to beat the crap out of each other. For Marvel fans, the video ought to hold you over until “Black Widow,” sure to feature plenty of eye-popping stunts from stars Scarlett Johansson and Florence Pugh, hits theaters on November 6. Assuming it does.

Blink and you’ll miss plenty of other celebrities and famous behind-the-scenes stuntwomen finding ingenious ways to pummel and torture one another in an all-female fight club scenario. As Diaz wrote on Instagram, “So much fun to participate in @therealzoebell’s #BossBitchFightChallenge. Fun way to fight boredom with some badass babes!”

Watch the “Boss Bitch Fight Challenge” below.


View this post on Instagram


So much fun to participate in @therealzoebell’s #BossBitchFightChallenge. Fun way to fight boredom with some badass babes! 🥊💥. . . @camerondiaz @rosieperezbrooklyn @traciethoms @rosariodawson @dhlovelife @florencepugh @lillyaspellactress @julia_butters @halleberry @reallucylawless @scarlettjohanssonworld @drewbarrymore @danielaruah @margotrobbie @kaitlinoslon @itssophiadimartino @zoesaldana @thandienewton @juliettelewis#BossBitchFightChallenge #LockdownKnockdown #ZoeBell #ScarlettJohansson #MargotRobbie #CameronDiaz #LucyLawless #HalleBerry #JulietteLewis #FlorencePugh #RosarioDawson #RosiePerez #TracieThoms #ThandieNewton #ReneeEliseGoldberry #DrewBarrymore #DanielaRuah #ZoeSaldana #KaitlinOlson #SophiaDiMartino #JuliaButters #LillyAspell #StuntWomen #GirlsDoItBetter

A post shared by Cameron Diaz (@camerondiaz) on May 1, 2020 at 1:46pm PDT

Source: IndieWire film

May 2, 2020

Claire Denis Was About to Shoot in LA with The Weeknd When Sheltering Orders Hit

French filmmaker Claire Denis achieved a new level of exposure last year with A24’s release of her daring and decidedly anti-sci-fi science-fiction film “High Life,” cementing her place as the jewel of Film Twitter and a coveted collaborator among mainstream artists and actors. That includes The Weeknd, aka Abel Makkonen Tesfaye, a cinephile and self-professed fan of her work, from her sensual military tale “Beau Travail” to cannibal romance “Trouble Every Day.”

His fandom, as revealed in a recent “quarantine edition” interview with Claire Denis in Vulture, has spawned a collaboration. While A24 announced earlier this year that Denis would re-team with the studio and “High Life” star Robert Pattinson, for “The Stars at Night,” a love story set during the Nicaraguan Revolution and co-starring Margaret Qualley, Denis said she was about to start shooting another project with The Weeknd in Los Angeles when quarantine orders hit.

“Last month, I was in LA preparing to shoot a film with The Weeknd, and then Air France called me and my director of photography and said, ‘You’d better take the last flight we’re sure of and go home,’” Denis told Vulture. “So I was back in Paris on March 20, and the confinement had already started. I don’t know what’s happening with that film project now. We were going to shoot in April. The Weeknd lives in LA, and as soon as we can, we’ll go back there and try to shoot, because we have done the pre-production, the location scouting, everything.”

The particulars of that project remain under wraps. Along with “The Stars at Night,” Denis is set to contribute a vignette to the upcoming “Rotterdam, I Love You,” the latest installment in the “Cities of Love” series that explores romance in different urban locations. Denis said she was set to start shooting “Stars at Night” at the end of the fall, but that’s been postponed.

Denis also said that, along with writing, she’s spent a lot of time in quarantine cooking. “I started making, once a week, my own hummus. I never thought I would, but it turned out great! Hummus makes me feel so good. But it takes a lot of time — two days. I never use canned chickpeas. I get them dry, and then I put them in water overnight, and then the next day I cook them a long time, and then I mash them with onion, garlic, some herbs, and tahini paste, with olive oil and a little bit of lemon juice. I think hummus is not good with bread; I eat it out of a bowl with a spoon, but I make a little pancake on the side,” she said.

Finally, Denis noted, “I hope this won’t last forever. I don’t want to die in my kitchen cooking hummus.” Read the full Vulture interview here.

Source: IndieWire film

May 2, 2020

Barry Jenkins Thinks You Should Revisit Steven Soderbergh’s ‘Solaris’ in Quarantine

Barry Jenkins has kept busy in quarantine, as IndieWire learned during an Instagram live discussion with the Oscar-winning “Moonlight” filmmaker last month. He’s been sheltering with his partner, fellow filmmaker Lulu Wang, and continuing work on “The Underground Railroad” series as best he can remotely. He’s also busily devouring movies, just like the rest of us, and the filmmaker recently shared eight movies he recommends streaming during quarantine with The Atlantic’s David Sims.

Among his picks is Steven Soderbergh’s science-fiction film “Solaris,” adapted from the Stanislaw Lem novel, currently streaming on Starz. The misunderstood, 2002 romantic drama follows George Clooney as a psychologist who gets more than he bargained for when he’s sent to outer space.

“Though it’s a sci-fi movie, it’s about these very simple human emotions between Chris [Clooney] and his wife, Rheya [Natascha McElhone],” Jenkins said. “In one moment, I’m thinking about theoretical physics and the limitations of time, and in another moment I’m being taken back to some of the heaviest moments I’ve ever had in my personal relationships. I can’t say I’m good friends with Steven, but I know him, and when I need advice, I reach out and he always gets back to me. I own the shooting script of ‘Solaris’; it’s one of the few films he actually wrote, but he just will not talk about it! It’s a desert-island movie for me.”

Though Soderbergh’s “Solaris” was actually lifted straight from the novel, Andrei Tarkovsky also adapted the book in 1972 with his much longer version of the futuristic tale. So, it’s fitting that Jenkins recommends streaming Tarkovsky’s heady, dystopian “Stalker,” also on the Criterion Channel, a challenging film he said serves as an inspiration for “Underground Railroad.”

“I try not to watch things when I’m making something, but with ‘The Underground Railroad,’ that was hard, because 112 production days is, like, 10 damn months,” Jenkins said. “The only thing that I allowed myself to watch was ‘Stalker.’ I woke up early in production and thought, I need to watch ‘Stalker’ again. It’s the kind of movie that sits in the back of your head. I was shocked at how relevant that film was to the series we were making. I didn’t watch it every week, but I definitely watched it a few times over the course of production. We were shooting in the woods, in all different kinds of weather. The journey of Cora, the main character of ‘The Underground Railroad,’ reminds me quite a bit of the journey of the main character in ‘Stalker.’”

Jenkins also recommends Joachim Trier’s 2011 drug addiction drama “Oslo, August 31,” Robert Altman’s “The Company,” Eliza Hittman’s “Never Rarely Sometimes Always,” “Selah and the Spades,” “Mid-August Lunch,” and “Train to Busan.” See the full list over at The Atlantic here.

Source: IndieWire film

May 1, 2020

Giving Thanks to Teachers Everywhere

Teachers change millions of lives every day. Even with in-person classes shut down across the country, they continue to educate and support children and their parents in countless ways. This Teacher Appreciation Week, here are some special ways to show your appreciation to a teacher in your life, or your child’s life:

Record their Stories

Thank a teacher using StoryCorps Connect, our new remote interview platform. StoryCorps Connect interviews allow you to spark meaningful conversations and preserve them at the Library of Congress through video conference technology. You can learn more and get the conversation started today at StoryCorpsConnect.org.

Here is a clip from a StoryCorps Connect conversation between a teacher and the man who inspired him.

Pay tribute to a teacher who helped you become who you are today. Not sure where to start your conversation? Here are some Great Questions to ask a teacher:

Image Text: When and why did you decide to become a teacher?
Image Text: Tell me about your first day.
Image Text: Tell me about a time when teaching made you feel hopeful.
Image Text: How would you like your students to remember you?
Image Text: Looking back, what advice would you give to yourself in your first year of teaching?

Thank a Hero

Our partner Share My Lesson is asking you to say “thank you!” to teachers, nurses, and public employees, and to support local businesses at the same time. Learn more here.

Share Stories Celebrating Teachers

Listen and share from our selection of stories from teachers of all backgrounds, and the many lives they have touched:

Lessons Learned

From the first roll call of the 1964 school year, Dr. William Lynn Weaver was targeted and harassed by the faculty of his previously all-white high school. Then a former teacher stepped in and saved his life.
Read the full transcript here.

Making It

Noe Rueda tells his high school teacher Alex Fernandez about how as a child, he used his entrepreneurial talents to help his family make ends meet.
Read the full transcript here.



"I didn't think I would ever tell a teacher…"

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When a Student Tells You He’s Homeless

Celeste Davis-Carr, a high school teacher, learned that one of her students was homeless through a StoryCorps recording he made in his English class. One year later, they discuss how his life has changed.
Read the full transcript here.


"He said, 'You make sure you call that teacher.'"

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Finding Passion and Saving Lives

Teachers can save lives, sometimes in unexpected ways. One day, middle school science teacher Al Siedlecki received an unexpected phone call from a neurosurgeon — one of his former students.
Read the full transcript here.


"At the time, I was tutoring at an after-school program…"

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Learning and Healing in the Classroom

After a personal tragedy, Ayodeji Ogunniyi turned to the classroom as a place to foster healing.
Read the full transcript here.

Want even more stories? Sign up for our Story of the Week newsletter to discover a new voice every week.

Source: SNPR Story Corps

May 1, 2020

Stories to Celebrate Mother’s Day

This year, due to the COVID-19 Pandemic, many families are spending time apart when they would normally be together. Moments like Mother’s Day, when people typically get to celebrate the nurturing figures in their lives, are especially complicated.

Below, we’ve put together a collection of stories of mother-child relationships of all shapes and sizes. We hope you enjoy them.

A StoryCorps conversation is the least expensive and most important gift you can give to someone you can’t be with face-to-face. This Mother’s Day, honor a mother figure in your life using StoryCorps Connect and record her story. Learn more at StoryCorpsConnect.org.

Q & A

Joshua, who has Asperger syndrome, asks his mother a few questions that have been on his mind.
Read the full transcript here.

Gabe and Chris López

Gabe López, age 8, remembers when things really changed for him as a transgender kid. With his mother by his side, he knew he wasn’t alone.
Read the full transcript here.



“When I did get back home, my son didn’t recognize me.”

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Coming Home From the Corners of the World

Ever since Dr. Lora Koenig and Dr. Zoe Courville met in the middle of the Greenland ice sheet while conducting climate research, their friendship has helped them navigate the challenges of their work and parenting.
Read the full transcript here.


"Nobody wanted to work with me."

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Climbing to the Top at ConEdison

Monica Harwell tells her daughter, Andrea Cleveland, about being the first woman to climb electric utility poles for ConEd in New York.
Read the full transcript here.

A Mother’s Promise

Maria Rivas and her teenage daughter Emily prepare for the possibility of Maria returning to El Salvador if she is forced to leave the U.S.
Read the full transcript here.

Bonnie and Myra Brown

Bonnie Brown talks with her daughter Myra about living with an intellectual disability and their powerful bond.
Read the full transcript here.



"I spent eight hours a day putting hooks into bungee cords."

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MIT and Parenting, One Week at a Time

Mechanical engineer and MIT graduate Noramay Cadena tells her daughter, Chassitty Saldana, about what it was like to raise her while she was studying.
Read the full transcript here.


“When I took you home, I didn’t know how to feel.”

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Not a Fairytale, Not a Failure

April Gibson, 33, talks with her teenage son, Gregory Bess, about how she felt when he was born.
Read the full transcript here.


Me & You

Jackie’s life changed when she and her husband adopted their son, Scott. She shares with Scott for the first time what led her to make that decision.
Read the full transcript here.

Road to Resilience: Alice Mitchell and Ibukun Owolabi

Alice was 14 when her mother died unexpectedly, just two weeks after giving birth to her youngest child. Ten years later, the siblings discuss losing their mother for the first time.
Read the full transcript here.



“I struggled with, maybe I should have stayed away.”

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Uncovering Family Secrets

Lisa Bouler Daniels tells her biological brother Benjamin Chambers what it was like to learn about her birth mother after she passed away.
Warning: The following story discusses sexual assault.
Read the full transcript here.


"I heard her say, 'Don’t you be no sad mama for my grandbaby!'"

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Walking in a Mother’s Legacy

Sada Jackson sat down to learn about her late mother through her mom’s best friend, Angela Morehead-Mugita.
Read the full transcript here.



Want even more stories? Sign up for our Story of the Week newsletter to discover a new voice every week.

Source: SNPR Story Corps

April 29, 2020

SXSW Film Alumni Releases – May and June 2020

Discover some of the SXSW Film Festival alumni films on release this May and June such as The Lovebirds, The King of Staten Island, Snowpiercer, Central Park, and more. Check out the complete list below!

The River and the Wall

World Premiere, Documentary Feature, 2019

The River and the Wall follows five friends on an immersive adventure through the unknown wilds of the Texas borderlands as they travel 1200 miles from El Paso to the Gulf of Mexico on horses, mountain bikes, and canoes. They set out to document the borderlands and explore the potential impacts of a border wall on the natural environment, but as the wilderness gives way to the more populated and heavily trafficked Lower Rio Grande Valley, they come face-to-face with the human side of the immigration debate and enter uncharted emotional waters.

Now streaming on Starz.

The Lovebirds

World Premiere, Narrative Feature, 2020

A young couple (Issa Rae, Kumail Nanjiani) is pulled into a bizarre (and hilarious) murder mystery. Working to clear their names and solve the crime, they need to figure out how they, and their relationship, can survive the night.

Streaming on Netflix May 22.

Central Park

World Premiere, Episodic, 2020

Central Park is an animated musical comedy that follows the exploits of a family living in the world’s most famous park. Series voice cast: Josh Gad, Leslie Odom Jr., Kristen Bell, Kathryn Hahn, Tituss Burgess, Daveed Diggs, Stanley Tucci.

Streaming on Apple TV+ May 29.


World Premiere, Episodic, 2020

NMFS (National Marine Fisheries Service) agent Jackie Quiñones has a wrench thrown in her fun, free-wheeling, booze-addled life when she uncovers a dead body on the beach, plunging her into the center of a complicated – and dangerous – opioid ring investigation.

Streaming and broadcasting on Starz on May 17.


World Premiere, Episodic, 2020

Upload is a ten-episode half-hour sci-fi comedy from Emmy winning writer, Greg Daniels, starring Robbie Amell and Andy Allo. It takes place in the future, where people who are near death can be “Uploaded” into a virtual afterlife of their choice.

Streaming on Amazon May 1.


World Premiere, Narrative Feature, 2020

The directorial debut of Clark Duke, Arkansas is a gritty, darkly comedic thriller about drug trafficking by the Dixie Mafia in the Deep South from the 1980’s to the present. Based on the novel of the same name by John Brandon.

On Demand, Digital, and Blu-Ray May 5.

Solar Opposites

World Premiere, Episodic, 2020

Co-created by Justin Roiland (Rick & Morty) and Mike McMahan (ex-writer’s assistant on Rick & Morty), Solar Opposites centers around a family of aliens from another world who must take refuge in middle America. They disagree on whether Earth is awful or awesome.

Streaming on Hulu May 8.

Have a Good Trip

World Premiere, Documentary Feature, 2020

Have A Good Trip: Adventures in Psychedelics tells the epic story of psychedelics through the surprising and often hilarious drug trips of celebrity storytellers.

Streaming on Netflix May 11.


World Premiere, Episodic, 2020

Set after the world has become a frozen wasteland, TNT’s Snowpiercer centers on the remnants of humanity who inhabit a perpetually moving train that circles the globe, dealing with class warfare, social injustice and the politics of survival.

Broadcasting on TNT May 31.

I Will Make You Mine

World Premiere, Narrative Feature, 2020

Rachel (Lynn Chen) lives in idle luxury with a cheating husband, Professor Erika (Ayako Fujitani) juggles career demands while raising her daughter Sachiko (newcomer Ayami Riley Tomine), and struggling musician Yea-Ming (Yea-Ming Chen) is still chasing a fast-fading dream. Three women who could not be more different have one thing in common: their flawed romantic history with singer-songwriter Goh Nakamura (himself). When the amiable but unreliable Goh ambles back into town and into their lives, the past comes roaring back. This semi-sequel to Surrogate Valentine (SXSW 2011) and Daylight Savings (SXSW 2012) revisits the characters in a stand-alone story with a fresh new perspective.

On Demand and iTunes May 26.

The King of Staten Island

World Premiere, Narrative Feature 2020

Filmmaker Judd Apatow directs Saturday Night Live breakout Pete Davidson in a bracing comedy about a burnout stuck living with his mom (Oscar® winner Marisa Tomei) on Staten Island.

Premium VOD June 12.

A Most Beautiful Thing

World Premiere, Documentary Feature, 2020

A Most Beautiful Thing, narrated by Common, executive produced by NBA Stars Grant Hill and Dwyane Wade, and directed by Olympic rower Mary Mazzio, chronicles the first African American high school rowing team in this country (made up of young men, many of whom were from different neighborhoods and rival gangs from the West Side of Chicago), all coming together to row in the same boat. The film dives into the backstories of these young men, examining the issues of trauma and violence. As the team’s captain, Arshay Cooper, reflected, “when we were on the water, we were in a place where we could not hear the sound of sirens or bullets, and that was a beautiful thing…”

Screening in AMC Theatres June 12.

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The post SXSW Film Alumni Releases – May and June 2020 appeared first on SXSW.

Source: SxSW Film