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Q&As - News - Reviews



    Our mission is to inform, engage and inspire audiences about the upmost need and importance of the protection of global biodiversity. We do this through the annual film festivals in New York, Los Angeles and Monterrey, Mexico. WCFF also hosts in partnership events in Brazil, China, Nigeria and other countries. Our educational outreach programs take place on college and university campuses across the globe. All education outreach events are free for students, staff, faculty and the public to attend. People that attend and participate in our events are international wildlife conservationists, filmmakers, photographers, scientists and people across the globe that work toward the preservation of global biodiversity.
  • Unidentified Objects Q&A with Cast and Crew this Friday/Saturday/Sunday

    Unidentified Objects Q&A with Cast and Crew this Friday/Saturday/Sunday

    Peter is an uptight gay dwarf hiding from the world in a lonely apartment until his upbeat—and possibly unhinged—neighbor Winona wakes him up to borrow his car. Her destination? What she believes to be the site of an upcoming alien encounter. Desperate for a few bucks and a shot at redemption, he reluctantly sets out with her on a border-defying search for their place in the universe.


    Q&A Wednesday March 8 after 5:55pm with Steve Buscemi, J. Smith-Cameron, Wyatt Oleff and Alex Heller (Writer and Director)
  • A Little White Lie Q&A Friday March 3rd at 6:15pm show

    A Little White Lie Q&A Friday March 3rd at 6:15pm show

    FRIDAY MARCH ​3rd​ 6:15PM SHOW: Intro at 6:15pm by Writer/Director Michael Maren and​ Q&A after the show with writer/director Michael Maren, author Chris Belden and moderated by actor Andrew McCarthy
  • THE HOLLY Reviews

    THE HOLLY Reviews

    "A documentary that many of the most powerful people... do not want you to see.... This is the rare documentary that has all the elements one looks for from a scripted film, starting with a compelling and complex antihero worthy of Shakespeare.”—John Moore, Denver Gazette   “The shocking story of 'The Holly' continues to rile Denver’s power structure…. [Terrance] Roberts is running for Denver mayor, giving ‘The Holly’ the feel of an up-to-the-minute civic primer as much as riveting, true-life drama."—John Wenzel, Denver Post   "I was completely blown away,"—Academy Award-winner Adam McKay  
  • THE NEW YORK TIMES Dead for a Dollar’ Review: How the Western’s Done (By A.O. Scott)

    THE NEW YORK TIMES Dead for a Dollar’ Review: How the Western’s Done (By A.O. Scott)

    Walter Hill’s lean, mean shoot-’em-up is a master class in B-movie craft. “A man has a job to do, or a couple of men. They try to do it against tremendous odds. They do it.” That was how Budd Boetticher, whose “B” westerns of the 1950s became touchstones of the genre, summed up his movies. Walter Hill’s sinewy new western, “Dead for a Dollar,” is dedicated to Boetticher, who died in 2001, and honors his memory with appropriate thrift and elegance. It’s also a reminder that Hill — who at 80 has had a career that includes cult classics (“The Warriors,” “Streets of Fire”), smash hits (“48 Hours”) and everything in between — is a master in his own right, whose artistry has often been overlooked and undervalued. The plot is maybe a little more complicated than what you’d see in “The Tall T,” “Ride Lonesome” or other Boetticher gems, but like them, “Dead for a Dollar” organizes its action around a set of practical challenges and ethical conundrums. There are more than a couple of men (and only one woman) involved in this caper, and the jobs they have to do put them at potentially fatal cross purposes with one another and with themselves. Everyone wants to stay alive and make a living, and also to follow whatever code they imagine constrains their behavior. It’s in the nature of things — certainly of westerns — that not everyone will succeed, and that philosophical arguments will be resolved with bullets. Hill, who wrote as well as directed, is in no hurry to get to the shooting. He understands the value of the slow buildup, and also likes to listen to his characters talk — especially the salty old desert rats played by Willem Dafoe and Christoph Waltz. When we first meet them, Joe Cribbens (Dafoe), a grizzled all-purpose outlaw, is about to be sprung from the New Mexico Territorial Jail. He carries a grudge against Max Borlund (Waltz), the businesslike bounty hunter who sent him there. The settling of their score will have to wait. Joe plans to retire south of the border for some R & R — he’s fond of poker, liquor and “señoritas” — while Max has a new assignment to deal with. An American soldier has run off to Mexico with the wife of a wealthy, politically ambitious landowner named Kidd (Hamish Linklater), who hires Max to hunt them down. It’s inevitable that Max and Joe will cross paths — the Mexico of American westerns is a small place, in spite of its vastness — but the movie has a lot of thematic ground to cover on the way to that meeting. The western genre traffics heavily in myth, and also in politics, and there’s plenty of both here. An archetypal drama about loyalty, treachery and honor winds through thickets of racism and greed. What Kidd describes as a kidnapping is in fact an interracial romance between Rachel (Rachel Brosnahan), his wife, and Elijah Jones (Brandon Scott), a Black Army sergeant. Elijah’s onetime friend Poe (Warren Burke), who is conscripted to help Max find the couple, has his own bitter experience as a Black man on the 1890s frontier. On both sides of the border, prejudice is sometimes trumped by the corrupting power of money, which makes a mockery of the idea of justice. Kidd’s counterpart in Mexico is Tiberio Vargas (Benjamin Bratt), a ruthless warlord whose whims can mean the difference between life and death. I’ll leave you to find out who lives and who dies, not because any of it is all that surprising but because one of the pleasures of “Dead for a Dollar” lies in appreciating Hill’s skill as a storyteller. He uses the plot as a trellis on which his sometimes florid characters can bloom, even as their choices quicken and thicken the plot. I don’t want to oversell this movie: It’s solidly and proudly a B picture, as the Boetticher dedication makes clear. But in an age of blockbuster bloat and streaming cynicism, a solid B movie — efficiently shot (by Lloyd Ahern II) and effectively acted (by everyone) is something of a miracle. Hill had a job to do. He did it. That’s worth something.
  • Q&A Sunday February 5th after 6:10pm show with Filmmaker Mo McRae

    Q&A Sunday February 5th after 6:10pm show with Filmmaker Mo McRae

    James and Vanessa are the perfect married couple; successful, sexy, and smart. But after learning that the latest fatal police shooting involving an unarmed youth in their community was committed by their neighbor, a white policeman, they are shaken from their upper-middle-class complacency and driven to take action—with explosive results.
  • A Star without a Star: The Untold Juanita Moore Story REVIEW By Edward Brown

    A Star without a Star: The Untold Juanita Moore Story REVIEW By Edward Brown

    The documentary, the directorial debut of Kirk E. Kelleykahn, might sound from the title as though it is exclusively focused on a crusade to get Juanita Moore a star on the Hollywood Walk of Fame. However, the recognition that a deserving African American actress is without this specific honor is really just the starting point for a broader discussion about race in Hollywood and beyond. Kelleykahn does bookend the movie with scenes of the Walk and conversations he has with the powers that be at the Hollywood Chamber of Commerce, the folks who administrate the tourist attraction, but the bulk of the film really focuses on the life, times, and prolific career of Juanita Moore.   This is an interesting structural choice because it seems to suggest that the film’s presentation and praise of Juanita Moore is (pun intended) more important than getting her a star on the Walk. I personally like this approach because it makes it apparent that a star on the Walk of Fame does not deliver the justice that people like Juanita Moore deserve. The purpose of the film seems to be to highlight the resiliency, competency, and contributions of black actors in Hollywood rather than to grovel at the feet of whoever doles out Walk of Fame stars.   I think it’s cleverly subversive in that way. The documentary reveals the absurd amount of money, bureaucracy, and politicking that goes into getting a star on the Walk of Fame. It feels like such a grift! The whole system reeks of ego and ostentatious frivolity rather than professional merit. And I don’t say that to disparage anyone who wants to advocate for the merits of any one underappreciated actress or star. Kelleykahn is fighting for Moore’s legacy, and pointing out that this is an honor that she quite frankly deserves is a legitimate way of trying to preserve that legacy. However, the fact that such a prolific career can be reduced to the question of whether or not someone deserves a star painfully proves the documentary’s primary point: Racism in the motion picture industry not only reflects negative cultural norms in America, but exacerbates them through reinforcement in a sickening cycle of hate. It’s enough to make people want to riot. (And they did…several times.) However, the quiet grace and professionalism that Juanita Moore puts on display throughout A Star Without A Star effectively manage to assuage the indignity of her plight.   That her modesty comes through gives us a glimpse of the kind of person Juanita Moore was in addition to the accomplishments she achieved. A Star Without A Star does a great job of showing how she developed and utilized that humility and resiliency throughout her career and life. It also shows how her contemporaries did the same. Sidney Poitier gives several interviews throughout the film where he attests to the racism, typecasting, and industry ire that he and Moore endured. Kelleykahn shows us a tearful yet proud Hattie McDaniel being forced to sit apart from all the other white actors while she waited to accept her Oscar for best-supporting actress for her role as Mammy in Gone with the Wind (1939). The documentary makes the unwavering dignity that Juanita Moore and her contemporaries always comported themselves with feel almost saintly. Almost as if the Walk of Fame doesn’t even deserve Juanita Moore or them.   At the beginning of the documentary, the narrator, Jeffrey Poitier, the son of the late, great Sidney marvels, “If Mickey Mouse, Bugs Bunny, and Tinkerbell can all have stars, why doesn’t someone like Juanita Moore?” The narrator’s point is obvious. Painfully obvious if you’re a person of color. It’s a rhetorical question that Kelleykahn cleverly spends the rest of the film answering. It is a film that conspicuously, but fairly addresses historical racism in Hollywood and, subsequently, America. It will make viewers uncomfortable in a way that it should. It exposes the fallacy that America exists or has ever existed in a post-racial era. The film offers a profound scene where JFK asks, “Can we honestly say that it doesn’t affect our security and the fight for peace when negros and others are denied their full constitutional rights?” That should be a powerful moment for anyone that watches this movie or reads this review. And to be clear, the intention of the movie is not to shame America, but to expose the pervasive and insidious nature of racism and how it steals the spotlight away from people like Juanita Moore.
  • NEW YORK SHORT FILM FESTIVAL 2022 Starts November 11

    NEW YORK SHORT FILM FESTIVAL 2022 Starts November 11

    CLICK HERE TO BUY TICKETS! The 2022 New York Short Film Festival runs Nov 11-17. Showcasing the best of short filmmaking from around the world, the NYSFF celebrates indie films and filmmakers.   Here’s the 2022 Screening Schedule & Official Selection.
  • Virtual Q&As with Filmmakers, Director Maria Loohufvud & co-director Love Martinsen. Nov 5+6

    Virtual Q&As with Filmmakers, Director Maria Loohufvud & co-director Love Martinsen. Nov 5+6

    The love of dance and glitter bonds an unlikely group of 60-plus women in Southwest Florida – the Calendar Girls. But under the veil of fake lashes and unicorn horns lurks the deeper truths of what aging women face within society. Sisterhood, love, loss – all come into play in this uplifting film about trying to age on your own terms and refusal to become invisible.
  • CALENDAR GIRLS Organization Dances for a Variable Population presentation &workshop after 11/10 show

    CALENDAR GIRLS Organization Dances for a Variable Population presentation &workshop after 11/10 show

    After the Calendar Girls screening Thursday Nov 10th, the organization Dances for a Variable Population​ will hold a short presentation and workshop.