OUR AMERICAN FAMILY Q&A with the filmmakers on Thursday, September 8th after the 7:00pm show
An honest, unfiltered look at a close-knit Philadelphia family dealing with generational substance abuse.
-Semi-Finalist Laurels in the "Women's Empowerment Short" category of the San Francisco Indie Short Festival.Official selections for the festival will be announced end of May.
-Semi-Finalist Laurels in the Paris International Film Festival Short Category. Official selections for the festival will be announced in June.
Q&A with the filmmakers featuring the Tri-State Rescue Ladies & Friends on Friday, August 12 after the 7:00pm show, and on Saturday and Sunday after the 1:15pm and 7:00pm shows
SR is a festival that aims to satisfy a market need of socially relevant film content and everyday positive human stories while offering an alternative to the proliferation of violence in today’s story lines and filmmaking styles.
SR Films are entertaining, enlightening, uplifting but most of all artistically appealing. - www.ratedsrfilms.org
PARADISE HIGHWAY Intro and Q&A by Director/Screenwriter Anna Gutto Saturday July 30th at 9:20pm screening and Sunday July 31st at 6:50pm screening!
Academy Award® winners* Juliette Binoche and Morgan Freeman lead this riveting thriller set in the trucking industry and its seamy underbelly of human trafficking. When her brother’s life is threatened, Sally (Binoche), a truck driver, reluctantly agrees to smuggle illicit cargo: a girl named Leila (Hala Finley). As Sally and Leila begin a danger-fraught journey across state lines, a dogged FBI operative (Freeman) sets out on their trail, determined to do whatever it takes to terminate a human-trafficking operation — and bring Sally and Leila to safety.
THE STORY WON'T DIE, from Award-winning filmmaker David Henry Gerson, is an inspiring, timely look at a young generation of Syrian artists who use their work to protest and process the world's largest and longest displacement of people since World War II. The film is produced by Sundance Award-winner Odessa Rae (Navalny). Rapper Abu Hajar, together with other celebrated creative personalities of the Syrian uprising, a Post-Rock musician (Anas Maghrebi), members of the first all female Syrian rock band (Bahila Hijazi and Lynn Mayya), a breakdancer (Bboy Shadow) and choreographer (Medhat Aldaabal), and visual artists (Tammam Azzam, Omar Imam and Diala Brisly), use their art to rise in revolution and endure in exile in this new documentary reflecting on a battle for peace, justice and freedom of expression. It is an uplifting and humanizing look at what it means to be a refugee in today's world, and offers inspiring and hopeful vantages of a creative response to the chaos of war.
Kathryn, a struggling actress and unfulfilled housewife, becomes involved with her new gardener, Ben. As he gives her the attention and sensitivity she craves, they start to fall for each other. But Ben is not what he seems.
Writer/director Russell Owen will be making a guest appearance in New York to do a Q&A for the opening night.
A young Scottish shepherd, following the death of his unfaithful wife, fights to maintain his own sanity when the past catches up to him.
Should you be among those lamenting the lack of whale feces and exploding genitalia coming to a theater near you, not to worry: Troma Entertainment hears your pain. And with “#ShakespearesShitstorm” — billed, I kid you not, as a musical adaptation of “The Tempest” — the durable director Lloyd Kaufman lobs multiple notions at the screen to see what sticks. In a movie held together with this many slimy fluids, pretty much everything does.A good-natured dig at addiction, Big Pharma and the judgmentalism of liberal elites, the movie follows the efforts of a wronged scientist (Kaufman) to exact revenge on the sleazy head of an avaricious drug company (Abraham Sparrow). A lucid plot, though, is surplus to requirements as we’re dragged into a debauched shipboard party (cue the flatulent whales) and an interminable crack house orgy, while Kaufman and company gleefully lampoon social-media warriors and cultural appropriation. Wiggling women and tumescent men bump up against a revolting spoof of the elevator scene from “The Shining” (1980), and an animated sequence from the talented Josh Stifter briefly raises the tone. Excrement and other forms of ejaculate spurt continuously, suggesting that this bona fide abomination was even more disgusting to act in than to watch.It’s all quite insane, if par for the course for Troma, which has been churning out these low-budget curios for close to 50 years now. As sitcoms are to TV and Pink Floyd is to vinyl, Kaufman’s film feels made for a more nostalgic medium and a more substance-enhanced viewing experience. Its makers, however, deserve praise simply for living up to that doozy of a title.
