A collection of reviews of films from off the beaten path; a travel guide for those who love the cinematic world and want more than the mainstream releases.
US, FOREVER AGO haunts me. A stunning first feature it is a film that has not only stayed with me but called out to me at various times since I first saw it, pleading with me to return to its warm embrace. A narrative/documentary hybrid it destroys the boundary between genres to become a singular cinematic work.
The film is nominally the story of director Irina Varina looking back from 2030 at the film she started to make in 2015 and struggled with until 2018. The film within the film is the story of a woman making a documentary about female artists and is made up of interviews with the various artists that Varina knows.
On the face of it it shouldn’t work. In describing the film to a couple of friends they sort of scrunched up their faces and said it sounded pretentious- and it does but Varina makes it work. She not only makes it work she makes it into something grabs you and embraces you. There is a physical tactile quality to the experience of seeing Varina and it feels wonderful.
I know it sounds insane but it’s true. Watching the film is like going to a certain place. As the film spun out I kept wondering where I was and how did I get there. Watching the shots on the snow subway platform high over Queens that close the film are like going to a specific place in time and space- it is a feeling that returns each time you revisit it (I know I watched them over and over again). The marriage of sound and image and the spoken words mesh so perfectly that it scoops you up and puts you right there.
One of the (many) reasons the film works so well is that Varina's narration is hypnotic. Her words and delivery is perfect in the truest sense of the word. We hang on every word, every inflection and we are brought into the tale in the way the best storytellers hook us and suck us into their stories. It is so good that it will make you wish there was an award for voice over work.
I am in awe of the film. (So much so that I am nt going to quibble about the one thing that didn’t work for me because it would come off as sounding rather mean)
See US, FOREVER AGO. It is playing August 8th at the Kew Gardens Festival of Cinema and is a must see (tickets here). It is a must see not only because it is a great film but also because it will put Irina Varina on your radar as a new shining face in the cinematic firmament.
One of the best films at the Kew Gardens Festival of Cinema and of 2018 as well.
The film plays Wednesday August 8th at the Kew Garden's Festival of Cinema. For tickets and more information go here.
It took me ages to sit down and watch Irina Varina multi-part series THINGS I'd LIKE TO DO...… and it was a major mistake on my part because it is a fantastic one of a kind “film”.
For the record I fell in love with Varina‘s work after seeing her film US,FOREVER AGO at the Kew Garden Film festival in 2018. That film is an amazing film unstuck in time that gets under your skin and takes you some place else. It’s an absolute stunner. She is an artist with a one of a kind view of the world and with THINGS... she proves herself to be one of the most exciting filmmakers working today.
The series is a bit hard to describe. It has something to do with a woman who leaves her neighborhood and is talked about by her friends while we see videos she left behind detailing nominally what she would rather be doing rather than thinking about men. Where it goes is the trip you have to take.
Made up of six episodes running anywhere between four and six minutes they move like the wind telling its seemingly compartmentalized story. I was initially thrown off by what the film was doing since the sequences where Varina addresses us directly seem to be completely at odds with the sequences that wrap around them. I was a bit taken aback but the differences in how the two parts are presented, but as the second episode screened things began to click into place. There was this grand “ah ha!” when I understood what Varina was doing with how she was telling the story. The differing textures of the sequences no longer rubbed against each other but blended.
Wow.
I am not ashamed to say that I love the work that Varina is doing. She is turning out films that are not only haunting pieces of cinema but doing so in ways that are one of a kind and unique.
While I would be foolish to assume that THINGS I'D LIKE... will work for everyone, I think for anyone who wants to experience a unique cinematic talent is in for a treat. This is a series to track down.
The second annual Kew Gardens Festival of Cinema starts this week and it looks to be a blast. Taking place in Kew Gardens proper and at the Queens Museum the festival is 10 days of cinematic goodies that has something to delight everyone. Go here and look things over and buy some tickets.
Okay, full disclosure as this posts I have not waded into this festival as I have with other recent ones, because I have been covering four other festivals and I am just really beginning to put my coverage together (hence the brevity of this curtain raiser). As a result I can’t really list all of the goodies as I have with other recent festivals. However I can make a few suggestions:
US, FOREVER AGO - I am in love with this film. A narrative/documentary hybrid the film becomes something else entirely. Heralding the arrival of Irina Varina it blew my mind and then some. One of the best films of the festival and maybe 2018. Highly recommended.
MURDER MADE EASY is an absolute blast of a film. It begins with a dinner among friends and then turns deadly. I saw this earlier this year and I have been recommending it ever since. A great great film one of the best films you'll see all year.
NOTHING CHANGES:ART FOR HANK’S SAKE is a great portrait of man who lives for art. Well past the age most people have retired, goes every day into his studio overlooking Union Square Park in NYC. This is a great portrait of the need to create.
THE DOCTOR’S CASE – a solid Sherlock Holmes tale based upon a Stephen King Story. Not a monster story but a solid mystery
INTO THE VALLI is a heavy drama about a Frankie Valli impersonator whose personal life begins to crumble. Its a killer.
CHASING SUNSHINE is a sweet comedy that you have to see at the festival. An amusing tale of two friends on a scavenger hunt so one can find secret admirer, it is probably going to get lost once off the festival circuit because it’s brief run time is going to keep it off many people’s radar. That shouldn’t happen because it’s a lovely film. See it and then then help spread the word.
A VIOLENT MAN - excellent boxing film noir updated to the world of MMA has a fighter, who laid out the champ in a sparring match, chief suspect in a murder. A great cast and a solid script make this one to see. One of the very best films at the festival
Those are just some of the films playing, there are plenty more so go buy tickets and see something. The festival website is can be found here.
Going to hold off one more week with the filmmakers list. No offense to anyone on it, I just am so burnt from the six film festivals of the last three weeks that I haven’t been doing anything since last Saturday film-wise as you can see by the drop off in posts over the week.
I will never do that insanity again-which is why I am backing off the three other fests running exactly against New York Film Fest. I say that because I am so burnt out and because after close to 200 films for 6 festivals in roughly 4 weeks I don’t remember what most of them are.
I will not try to sum up any of the fests because, well, I don’t want to think about them that hard.
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I am not certain how the fall festival season is going to go. There are all sorts of rumors and talks and such about how festivals are going to handle things should covid force changes. Some fests are trying to draw up plans to pivot to virtual if things slide. Some writers are putting in for credentials for in person fests hoping/knowing that they will not go in person, hoping to be ready when the pivot comes. They are gambling that they will be able to cover some part of some fests. Having spoken with a number of writers and programmers I feel for everyone’s pain. I’m simply going to wait and see what happens and roll with it
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After much soul searching I have purchased a ticket package for NYFF. I am hoping to see a number of films on the BIG screen. I am not going to assume I will get a press pass, besides I want to see DUNE on the Alice Tully screen.
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I will have some coverage of Toronto and perhaps Camden and the Festival of Cinema NYC.
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I saw ANNETTE the weird musical from Leo Carex and Sparks.
It’s a film I admire more than like. Its way too mannered and artificial, however the technical aspects of it are stunning. This is a film to watch if you want to know about the craft of making a film.
Not sure you need to see it if you want to see a good film.
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I am going to run my Marq Evans interview to tie into the Port Jefferson Doc series screening of CLAYDREAMS
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One of my favorite filmmakers Irina Varina has been posting episodes in her new series The Ministry of Loneliness over the last few weeks. The fourth one just dropped this week. The series is nominally about the first Minister of Loneliness. What is actually has yet to be determined as the short episodes mix a building story with some obtuse pondering. I’m not entirely sure what I feel about it all (hence no review) but I’m curious where it’s going to go. The episodes can be found here.
Patrick Meaney ices his hand while Neil Gaiman explains why
Welcome to part to of what is destined to be a long running list of filmmakers you need to search out. (Part 1 can be found here).
As those who read the first part know, the list comes from my getting pissed off at Film Twitter and most major writers ignoring all of the great filmmakers from around the world who aren't cranking out the big films. In order to set the record straight I'm listing a whole bunch of filmmakers who are either making great films no one seems to have seen or they are making films that are pushing the bounds of what cinema is.
This part of the list a bunch of filmmakers I discovered as Unseen Films started to be a officially a member of the press.
There is no order here. No one is better than anyone else. Its just a randomly selected list of filmmakers ordered in the way I ran across them as I complied the list. The list is small so you don't have a ton of people to try and track down.
The list will continue into at least September - though it will probably go way beyond it.
Yoshihiro Nakamura
Chun-Yi Hsieh was the first filmmaker who ever reached out to me. He asked me to see his short BRAID in 2011 when I missed it at Tribeca.. It is a masterpiece. He has since gone on to make films in Asia and all of them are worth seeing. APOLITICAL ROMANCE
Patrick Meaney maybe best known for his documentaries about comic gods (Grant Morrison, Chris Claremont and Neil Gaiman, among others,) but he also has made a killer horror film (HOUSE OF DEMONS) and is now writing comics.
Irina Varina - Brooklyn based filmmaker has a glorious one of a kind look at the world. I fell under her spell with her feature US, FOREVER AGO and I have been delighted with everything that followed
Qunshu Gao, the director of THE MESSAGE, OLD FISH, BEIJING BLUES and WIND BLAST is making the best films you haven't seen and which are difficult to see in the US outside of a festival. Don't be fooled or put off by the difficulty he is one of the truly great directors you need to be actively searching out.
Hitoshi Matsumoto makes off kilter films. They always seem to be about one thing before they twist at the end into perfection in ways that will move you. R100, SCABBARD SAMURAI, BIG MAN JAPAN, SYMBOL are magic films. (SCABBARD SAMURAI will rock your world and SYMBOL is a glorious shaggy dog tale)
Segundo de Chomon was a contemporary of Melies and he ripped off some of his films, like a TRIP TO THE MOON, but he also improved on many, and he also made a ton of other films that were wonderfully unique.
Benjamin Renner has made two of my favorite animated films of all time Ernest and Celstine and THE BIG BAD FOX AND OTHER TALES. Both films will make you laugh, make you feel warm and make you want to revist them over and over again.
Andy Viner makes funny funny films. Start with Dick Night and Kirsten Lives in Los Angeles and go off laughing from there. That may not sound like a huge rave- but once you see his films you'll know its enough.
Linda Hoaglund's THINGS LEFT BEHIND and WOUND AND THE GIFT have haunted me since I saw them. THINGS LEFT BEHIND maybe the greatest film on the Hiroshima bombing I've seen reducing the massive tragedy to a level we can all understand.
I know I’m going to pick a fight here but it’s something that is pissing me off and while I know part of the answer, but I still have to ask this.
To most of my fellow film writers who are demanding that producers and studios give us more diverse voices-I have to ask- why aren’t you really writing on the voices that are out there? Why aren’t you covering the small festivals that either highlight the diverse voices specifically or which are just cool enough to program them without having to be prodded? Why aren’t you looking for the overlooked voices and bringing them to the forefront without waiting for the major festivals to bring them to you?
Understand that I am not saying there is enough diversity, there isn’t. What I am doing is saying that that many of the people I know who are calling for more diversity are not always making any effort to highlight the few voices who are crying out in the wilderness. My fellow writers, especially the ones with the bigger readership and at bigger outlets are not covering the wonderful, largely hidden, films that are out there unless they are programmed at Toronto or New York or Berlin or Tribeca or Cannes or any of the other big festivals. Big fests are all well and good but there are other beautiful voices out there, of the sort you are demanding to be heard, just outside of the big spotlights but you aren't listening to them.
Now I know, and completely understand, that many writers are being hobbled by editors and publishers who only want the big films and the big festivals on their pages. I have been told by pretty much everyone who writes that they would cover the smaller films and the smaller fests but that if they did the pieces would be rejected. I know you are fighting an uphill battle but at the same time the notion of diversity is a hot topic so why can’t you sell your editors on a piece about the voices trying to be heard? Why not go out and find four or five or six films at various festivals and tie them together in one piece about the people fighting against the odds to be heard? Why aren’t you doing some leg work, seeing a bunch of films and then banking them until you can post a full piece?
One piece from in one of the larger outlets will open doors because it will put the fests and the films on people’s radar. One piece begins to get the word out.
Admittedly it is easy for me to say since Unseen Films is mine and I can cover whatever I want. If a film interests me I will cover it. I don’t have to fight with an editor, I simply write the piece and put it up. I don’t have to worry about numbers I just worry about good films…
…and the funny thing is that by covering the small films and the ones by not straight white males from Hollywood the readership of Unseen Films has steadily climbed. Despite what the editors of the larger outlets think, people do want to read about films that have different voices. Here at Unseen the pieces that are getting the most hits are the films that are not getting the mainstream spotlights. Why? Because no one is talking about them and people want to hear about the films. (If I do a major release very few people will read my piece)
Now before I get called out, I am not claiming to be a bastion of complete diversity. What I cover is based entirely what comes my way. I pick the films based upon what is thrown at me via PR people and festival and art house programming. If it’s not put on the menu I can’t choose it. I know I can do more, but what I and my fellow writers at Unseen Films are doing is more than most outlets are doing. However where other people are sticking to a limited big fest, big release menu, we are looking everywhere we can for good films and unheard voices.
Simply put: More people need to be covering the smaller fests and smaller films. Publications need to do more than putting festivals like the Asian American International Film Festival, or Kew Gardens Festival of Cinema or Women Texas Film Festival on a list of events for the week. They should send a reporter to cover it. If they can’t send someone- ask for screening links. Post pieces- get the films and their filmmakers noticed and before people’s eyes.
Writers also should also be willing to engage directly with the filmmakers. Because some of the filmmakers trying to break into the mainstream may not have a publicist or distributor they may not be able to get word out. Filmmakers often have to fight to get their films seen and writers should help if they can.
My advice to my fellow writers is is if a director of a small film contacts you about seeing or reviewing their film take the time and do so. While this is important with any film it is even more important with the filmmakers who ethnically a minority or a gay or a woman or a combination. If you want to highlight diversity then start the conversation with the people who you want brought into the circle. If you can’t directly help them with coverage of their film then send them to someone who might be willing to take a look.
Way back when I started Unseen Films I was contacted by Chinese filmmaker Chun-Yi Hsieh who was at NYU and had a film in Tribeca. He insisted that I needed to see his film BRAID. He was right I did need to see it. Seven years on he is making feature films that are being played all over the world. I know I probably had nothing to do with it, but had I not said yes I would have missed out on a voice that is now part of world cinema.
Since then I’ve discovered the work of one of my favorite animators Kim Noce because her friend and fellow animator Shawn Clarke sent her my way. I recently discovered Irina Varina because she contacted me because her film US, FOREVER AGO is playing in this year's Kew Gardens. As a result I saw one of the best films of 2018 simply because I said yes to a filmmaker.
You may be wondering why I am going on about getting coverage for more diverse films and the answer is simple- if we can get the conversation started in the press and on online then we can not only get the studios to either pick up the small films for release but also give people a shot a directing the big films. We need to start the conversation so people start looking for the films and asking for more. We need to open the eyes of the public so they start to know there are films out there. We, as writers, can’t assume that people will be able to find the films without some sort of pointer.
What we as writers also have to do is break through the classifications of black or female or LGBT or Asian or whatever and let people know that the films are not just about one segment of society but everyone. Yes, some films will speak more to one segment of society than another but more often than not they transcend narrow classification to be something more. For example Wolfe Video which specializes in films with LGBT subjects, is actually releasing films which are just great stories. Seriously, some of the best romances that I’ve seen in the last few years have come from their catalog. Love transcends all and a great love story is great regardless of who the lovers are- I mean why did CALL ME BY YOUR NAME resonate so much with everyone? Because the emotion and truth transcends orientation.
In a world of hatred, mistrust and division we need to bring people together. What better way of doing that then seeing our differences and our similarities by way of cinema? The variety of human experience is both limitlessly diverse and universal. We are all one species and while the details of our lives differ we all are still the same in other ways. We need to see those differences and similarities so we can understand the world and ourselves.
To that end, as the producers and studios too slowly integrate film and TV, we in the press need to start a conversation. We need to make sure that people know that there are all these great films out there from all sorts of filmmakers. We need to get the conversation going so the producers don’t see color, gender, orientation or ethnicity but great filmmakers- many of whom are out there and need to be heard.
I’m getting into a long discussions with a couple of friends about the movies I’m recommending. Some of the friends are delighted at some of the gems I’m sending their way and some of the friends are upset because what I’m saying is good isn’t blowing up their skirts. I was thinking about this and I realize that what I am seeing and how I’m reacting has been effected by covid.
You don’t have to be a rocket scientist to know that the what and how of film releases have changed. Some films have been pulled as filmmakers want a brick and mortar release. Most films are getting some kind of VOD release. Drive ins are going gangbusters in a lot of areas. There is a weird whiplash to it as somethings are being released to “virtual theaters” with tie ins to actual theaters, while others are just going to normal VOD platforms.
Frankly I have no idea of the whys and wherefores of any of it and I don't think anyone else does either.
What I do know is that what I am seeing has been changing, especially in the last few weeks where the shift away from strictly streaming to theaters or theaters and streaming has altered plans. There is a sense that some films are being held a little bit to see which way the wind blows. Release dates are changing. And that isn’t taking into consideration the changing nature of, not to mention the scheduling of the festivals which has altered the flow of what I’m seeing.
I that what I'm being offered is being altered since some of the firms I deal with have been shifting around, with people ending up in new places or simply disappearing. I'm seeing a lot of new names and faces and not seeing a lot of old ones.
What I’m seeing, especially in the last few weeks has been a real mixed bag. Some of it has been good, some bad. Some of the festival selections feel like they were made because they had limited choices. Some of the films being released to VOD make me feel that they are there to just fill slots- which means that some of what I’m seeing is there just to fill slots.
On the plus side I have discovered some great films like Last Right, Trigger Point and The Great Leap. On the negative side I’ve been challenged about some of my choices with some friends taking me to task about some of the films I’ve liked. I recently had a discussion about some of the more off beat films I’ve been enjoying. One friend has wondered what drugs I was on when I watched some of the more esoteric films, like Great Leap.
None. I was not on anything. However the fact that a lot of the films I’ve been running across the last few weeks have been really bland and by the numbers has effected the way that I am responding. I know this happens all the time, but to be perfectly honest since the start of 2021 it’s been more pronounced. There have been so many similar comedies and dramas hitting my inbox that anything out of the ordinary is getting a few bonus points. Worse even the good films are tough to write about, hence the shorter reviews.
The discussion of what I am liking and what I’m not took a weird turn when an acquaintance who only does a film or two a week questioned why I was powering through so many questionable films. Why wasn’t I being more selective. The answer, beyond needing to feed the "film a day" beast, is simply I tend to find the real gems by trying a wide variety of films.
While I have always loved the inde films, I find that cut off from the big budget Hollywood films I am losing my taste for them. Yes I love the spectacle of things like GODZILLA VS KONG, but I’m becoming less forgiving with their flaws.
On the other hand I’m also becoming less forgiving toward inde films if they track close to the Hollywood model. I love that most inde films are more creative than the studio produced stuff and I am becoming cranky when things are not as creative as I would have liked. On the other hand I suspect that once more Hollywood pabulum is back in my diet I’ll be back to forgiving.
Actually what is killing me is the lack of interaction with the film world and my friends. Because everything is being watched at home and because no one is on the same schedule, no one is watching anything "together". We are all on different schedules and it makes it hard to discuss films. I may see something great but other people may not have had a chance to see it. When they do I may have moved on. The mad passionate discussions are lacking. The closest I’ve had to a typical cinema life for me was during Sundance when everyone was watching things in close order. I’m hoping this returns with Tribeca since it appears the screening process will be close to Sundance’s.
In a way the real thing that Covid has done is crush my enthusiasm for covering film. It has become a daily battle to watch, to write and to deal with the changes. There have been so many shifts to releases, to festivals and to the industry over the last year that it isn’t surprising that a good number of people I know have gotten off the bucking bronco.
PR firms and studios have shifted. People have moved around. Some sources are gone or changed. Nothing as it was. Worse It seems that since Slamdance the films are kind of drying up or release dates are changing as filmmakers and studios are aiming to get back into physical theaters. I’ve been pushing things back as a result. I find I am scrambling more to chase down films I want to cover. While I am delighted when I find a great film this just isn’t really fun anymore.
That said I keep going because I keep finding good things and because I’m too stupid to stop.
The annual festival of films from Poland is back and it’s both in person Wednesday through Saturday as well as virtual. I’ve seen six of the films and they are all awesome. I highly recommend all of them. Go buy tickets.
One of my favorite festivals of the year returns with a look at some of the best Italian films you probably never heard of. As this posts I’m just beginning to wade into the festival offerings. Where in other years where I’ve hit up most of the fest this year I’m only doing a handful. Time and tide are taking a toll. That said there will be reviews later this week once I get a chance to write up the films.
It’s still a couple of weeks away- but I just want to say that I've started scheduling reviews for Tribeca. I’m not certain how many films will be covered but I suspect that its going to be a large number- we saw a good chunk of the films they are showing from last years fest, plus I’ve had access to around 20 new films (so far). I can’t say more just yet but there is good stuff here.
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Lastly one of my favorite directors Irina Varina has a new experimental short film.
Ari Gold’s “The Song of Sway Lake” starring Rory Culkin to Open Festival
Friday, Aug. 3rd at UA Midway Stadium 9
KGFC’s Pre-fest Kickoff A MIDSUMMER NIGHT’S FEAST:
A Celebration of Food, Art and Cinema, July 31st at Queens Museum
New York, NY, June 20, 2018 - Kew Gardens Festival of Cinema announced today its film lineup of 110 films and the news that Regal Entertainment Group has signed on to become the lead sponsor for the 2nd annual 10-day event in Queens. While the festival organizers are saddened to leave the Kew Gardens Cinemas in Kew Gardens, they are very excited for what this means for the future of the film festival. For it’s sophomore year, Kew Gardens Festival of Cinema will be moving into its new home at Regal Entertainment Group’s UA Midway Stadium 9 in Forest Hills, Queens. From August 3rd to August 11th guests can enjoy films exhibited by state of the art projection and sound equipment in the comfort of Midway’s recliner seats. The Opening Night Film at the Midway will be the New York Premiere of Ari Gold’s award-winning and critically acclaimed “The Song of Sway Lake” starring Rory Culkin on Friday, Aug. 3rd at 6:30pm. On Sunday, August 12th, the festival’s Awards Dinner Gala returns to Terrace on the Park in Flushing Meadows-Corona Park.
With less than two months to go before the opening night of the 2018 Kew Gardens Festival of Cinema, the organizers continue to be hard at work promising major changes that will make the festival an even bigger and better experience for everyone. Other newly acquired sponsors for this year’s event include The NYC Mayor’s Office of Media and Entertainment, SAG-AFTRA, Variety 411, Moviemaker Magazine and Final Draft.
To kick-off the sophomore edition, Kew Gardens Festival of Cinema has partnered with Queens Museum to bring A MIDSUMMER NIGHT’S FEAST: A Celebration of Food, Art and Cinema. This spectacular one-night event, taking place inside the Queens Museum on Tuesday, July 31st from 6:00 p.m. to 9:00 p.m., will feature over 30 food vendors from Queens and other parts of NYC. For a small admission fee of $15, guests will have the opportunity to purchase small dishes from their favorite vendors, along with specialty cocktails, ranging in price from $5 to $10. Attendees are invited to peruse the Museum’s galleries, as well as the world famous Panorama, take photos on the red carpet and network with attending filmmakers. Inside the Museum’s theater, guests can check out select trailers from movies participating in the festival. Advanced tickets to the film festival, along with festival merchandise, will be available for purchase during the event. To order tickets to A MIDSUMMER NIGHT’S FEAST, visit eventbrite at: https://bit.ly/2Mm6k28
Attendees will once again be able to visit the Queens Museum, and take advantage of the free programming being offered there. New this year, attendees at the Museum can check out a free day of web series, special presentations by invited filmmakers, and a SAG-AFTRA workshop covering the contracts available for independent films. On Thursday, August 9th, the Queens Museum will be presenting a festival selected film, as part of their Passport Thursdays Outdoor Screening series.
On Saturday August 12th, The Center At Maple Grove will play host to two panels – The Jury’s Out: Meet the 2018 Festival Jurors, and A Change Overdue: Diversity in Cinema, a discussion on diversity in independent film featuring invited filmmakers from the Festival. Friday August 10th, UA Midway Stadium 9 will play host to the Festival’s Midnight Madness Grindhouse Horror Night.
Tickets to Kew Gardens Festival of Cinema are priced at $15 for regular daily screenings. Opening, Closing and Mid-week premieres are priced at $25 and include entry into the open bar after parties, following those screenings.
For tickets and more information on the Festival, visit:
Kew Gardens Festival of Cinema proudly announces the following 110 films (out of over 350 submissions) from 23 countries including the U.S., Australia, Canada, France, Italy, South Africa, Turkey and more in its 2018 lineup in the categories of Narrative Features, Documentaries, Short Films, Animation, Experimental & Music Video and Web Series.
